nÃo hà / Em busca de outras possibilidades de subjetivaÃÃo, busco materializar a mulher-monstro em uma prÃtica poÃtica que transborda os limites entre a arte e a vida. Registro de um estudo sobre a condiÃÃo da mulher numa ordem patriarcal, onde esta à situada comumente no lugar de âoutroâ, âabjetoâ, a fronteira de um ser nÃo humano. AtravÃs do meu repertÃrio de vivÃncias desse lugar âoutroâ e da assimilaÃÃo de imagens presentes em contos mÃgicos, delineia-se um percurso que conflui em uma performance orientada pelo feminismo e a experiÃncia compartilhada e incorporada do sensÃvel. à fundamental a compreensÃo de um momento que à marco histÃrico de Ãdio e extermÃnio Ãs mulheres: a âcaÃa Ãs bruxasâ empreendida na Idade MÃdia, para chegar Ãs noÃÃes de contraproduÃÃo da opressÃo de gÃnero no Ãmbito do movimento de arte feminista que teve inÃcio no final da dÃcada de 1960. Ao lado de algumas performers que faziam do corpo o veÃculo para seu discurso, coloco-me. O processo criativo desenvolvido ao longo desta pesquisa de cunho intuitivo, afetivo e pessoal, mas tambÃm com um senso de interferÃncia e ruÃdo polÃtico, apresenta o Manifesto da Mulher-Monstro e a coleÃÃo de intersecÃÃes entre teorias sobre o corpo e prÃticas sensoriais coletivas, tecendo o lugar onde meu corpo despido à o centro da experiÃncia e da subjetivaÃÃo. A mulher-monstro declara suas falhas e expÃe suas vÃsceras para que o pÃblico lhe atravesse, molde e, ao remexer suas entranhas, ela desfaÃa-se, para criar-se novamente em outra paisagem existencial. / In search of other possibilities of subjectivation, I try to materialize the monster woman, in a poetic practice that overflows the boundaries between art and life. Record a study on the condition of women in a patriarchal order, where it is commonly located in place of âotherâ, âabjectâ, the border of a nonhuman being. Through my repertoire of experiences of this âotherâ place and the assimilation of images present in magical tales, a path is drawn that converges in a performance guided by feminism and the shared and incorporated experience of the sensitive. It is essential to understand a moment that is a historical moment of hatred and extermination of women: the âwitch huntâ undertaken in the Middle Ages, to arrive at notions of counter-production of gender oppression in a realm where the performative and the performative are found in the feminist art movement that began in the late 1960s. Alongside some performers who made the body the vehicle for their speech, I place myself. The creative process developed throughout this intuitive, affective and personal research, but also with a sense of interference and political noise, presents the Monster Woman Manifesto and the collection of intersections between theories about the body and collective sensory practices, weaving the place where my naked body is the center of experience and subjectivation. The monster woman declares her faults and exposes her viscera so that the public crosses him, mold, and by stirring her bowels, she undoes herself, to create herself again in another existential landscape.

This thesis describes the use of feminist performance pedagogy in working toward a Theatre for Young Audiences (TYA) practice that engages youth in social justice. Drawing on feminist and pedagogical theories, this document explores the processes of writing, rehearsing, and touring a new social justice play for youth called 'And Then Came Tango.' The qualitative study outlined in this MFA thesis uses feminist research methodologies to analyze the engagement of the playwright, the artistic team working on the production of 'And Then Came Tango,' and the second and third grade audiences that participated in the touring production and post-show workshops. The author weaves personal story throughout the document in order to create new meaning around the research experiences as well as to illustrate the personal dimensions of engaging in the struggle around LGBTQ injustice. The discussion invites future artists, educators, and activists to imagine how theory, aesthetics, artists, and communities collaborate in order to work toward socially just and interactive TYA. / text

Using new materialist approaches to intersectional theories of gender/sex –particularly Karen Barad’s ethico-onto-epistemological framework, agential realism– this thesis examines how knowledge about class is produced, through feminist performance art practices. Through this lens I will examine how two pieces of performance art by U.K. based artists, Sophie Lisa Beresford and Catherine Hoffmann, can express novel ways in which class is not simply a system acting upon bodies, but inextricably entwined with, and produced through, bodily matter. Furthermore, this essay discusses the ways in which performance art is uniquely positioned to examine this intra-action between discourse and matter; providing a way to bridge the gaps in the current theoretical discourses and creative practices. Keywords: Feminist performance art, agential realism, intersectionality, class, new materialism, class-drag, performativity, class-passing, intra-activity.

Submitted by DANIELA ALVARES BESKOW null (dab@inventati.org) on 2017-11-06T18:08:59Z No. of bitstreams: 1 BESKOW_DANIELA_ALVARES_DISSERTACAO_MESTRADO_2017_O_DISCURSO_DAS_MULHERES_NA_CENA_PAULISTANA.pdf: 1700280 bytes, checksum: ae8b8fbf75996cf875812de9306036ad (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-11-13T19:23:07Z (GMT) No. of bitstreams: 1 beskow_da_me_ia.pdf: 1700280 bytes, checksum: ae8b8fbf75996cf875812de9306036ad (MD5) / Made available in DSpace on 2017-11-13T19:23:07Z (GMT). No. of bitstreams: 1 beskow_da_me_ia.pdf: 1700280 bytes, checksum: ae8b8fbf75996cf875812de9306036ad (MD5) Previous issue date: 2017-06-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa investiga espetáculos cênicos – das áreas de teatro, dança e arte da performance – apresentados na cidade de São Paulo durante o biênio 2015-2016, que trazem apenas mulheres em cena. A partir de uma perspectiva feminista e materialista, foi desenvolvida a metodologia denominada “análise contextualizada” ou “análise situada”, utilizada para observar e analisar espetáculos teatrais a partir de suas dramaturgias cênicas. Em seguida, são propostas questões sobre mulheres em cena e artes cênicas a partir do debate e realidade de violência contra as mulheres no Brasil, assim como de reflexões e ações derivadas dos movimentos feministas, originando um esboço do conceito: “dramaturgia cênica feminista”. / This work investigates escenic performances – theater, dance and performance art – performed at São Paulo city during the biennium 2015-2016, with just women on scene. From a feminist and materialist perspective, it was developed the metodology named “contextualized analysis” or “situated analysis”, used to observe and analyse theatrical performances from which their escenic dramaturgies. Subsequently, questions about women on scene and escenic arts are suggested from which the debate and reality of violence against women on Brazil, as well from thoughts and actions derived from the feminists movements, originating a sketch of the concept: “feminist escenic dramaturgy”.