Permeating the spectacle Le Circo de La Drag: resistance to times of hatred and resentment in the Brazilian context

Abstract

This article was placed in conversations with the play Le Circo de La Drag, its production took place in the sixth chapter of the dissertation entitled Who sees close - Does not see runs: Porosity of a body in trips with Drag Queens. In this dissertation, the traveler-researcher lived with her drag-queens with her traveling friends. In this text, the analyzed play was performed during Brazil's presidential elections, characterized by political polarizations and false news. Given this scenario, the play was organized as political satire with four drags parodying the latest events in the country. The show had as a “plot” consecrated Brazilian songs and each song was problematized and parodied in the drags' performances. The show criticized the naturalization of songs that referred to gender, racial and other violence. The purpose of the play was to raise reflections on the contexts in which we are inserted and how we authorize and naturalize practices of violence and hatred.

Keywords: Show, drags and travel.