By Severino J. Albuquerque
A major and leading edge examine that makes an immense contribution to its box, and redresses a truly severe absence of literature on homosexual issues and imagery in Brazilian theater. a part of what makes this research so very important is its variety. beginning in the beginning of the 20th century, Albuquerque examines the best way the Modernist circulation either fueled and inhibited using homosexual imagery in Brazlian drama. Following the altering theatrical motifs throughout the many years, from the waning of the army dictatorship throughout the early days of AIDS, Albuquerque's examine finally turns into a examine of a complete Latin society, and the ways that Latin theatre has absorbed and mirrored the culture's personal altering sensibilities.
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Extra info for Tentative Transgressions: Homosexuality, AIDS, and the Theater in Brazil
But even after female actors were able to legally join their male counterparts on stage, their reputations remained subject to suspicion throughout the nineteenth century; in fact, 22 Tentative Transgressions “up to the beginning of the twentieth century public health authorities demanded medical certiﬁcates from actresses to prove that they were not carrying any diseases” (Trevisan 1986: 91). It was not until the 1860s, with the production of plays by Maria Angélica Ribeiro (1829–1880) that women playwrights saw their works staged under their own names in Brazil (until then their works may have been staged and/or published under men’s names); Ribeiro’s Gabriela was staged in Rio de Janeiro in 1863, while her abolitionist drama, Cancros sociais (Social cancer), was produced in 1865 and published in 1866 (Galante de Souza 1960, 2: 455–56).
The dictatorship’s peculiar notion of subversion made no distinction between guerilla warfare and political dissent on an intellectual level and often treated sexual transgression as merely another type of social and political unrest. From early on, the role of theater as sociopolitical metastage where issues of national importance are played out has been punctuated by 20 Tentative Transgressions ambivalence. In fact, a key conﬂict has shaped the existence of the theater in Brazil from its inception to the present—an attraction to and rejection of the experience of the diﬀerent and the disenfranchised.
Qorpo-Santo’s plays are short satires populated by characters who often Transgression, Homosexuality, and the Theater in Brazil 31 bear such odd names as Rapivalho, Miguelítico, Impertinente, Truquetruque, Perna de Galinha, and Espertalínio da Porciúncula. His theater as a whole constitutes a wry indictment of his contemporaries, a satirical commentary on the pedantry of the Second Empire, and a truly subversive alternative to the commercially successful and oﬃcially sanctioned theater of his time.