La Corporalidad Travesti en la Deformance Poética de Naty Menstrual

Abstract

RESUMEN -La Corporalidad Travesti en laLatina. Desde ella, la institución promovió la inclusión de personas trans y cuestionó la binaridad genérica propia del pensamiento heterosexual. Varias de las presentaciones de lanzamiento de la revista fueron acompañadas por performances escénicas. Aquí, abordamos la construcción de la identidad travesti corporalizada por la poeta y performer Naty Menstrual en la primera presentación de El Teje. Para tal fin, utilizamos aportes de la teoría del campo teatral posdramático aplicados al campo de los estudios queer. Palabras-clave: Teatro Posdramático. Deformances. Identidad. Corporalidad. Travestis. From it, the institution promoted the inclusion of transgender persons and questioned the dualism typical of the heterosexual contract. Many presentations of the magazine were accompanied by performances. We have studied the construction of the transvestite identity embodied by poet and performer Naty Menstrual in the first presentation of El Teje. For this, we apply postdramatic theatrical theory to the field of queer studies. ABSTRACT -Transvestite Corporeality in the Poetic

Lo Escénico como Negatividad Subversiva: ajenidad radical y performance trava sudaca en la voz de Susy Shock

“…There are analysis of poet's stagings that rely on the axioms of Judith Butler's early thoughts and, from there, bring to the fore the fictional and incidental character of identity, as well as the way in which the performance sediments and stabilizes the identitary categories that allow recognition. Guillermina Bevacqua (2013), for instance, studies the non-verbal scenic languages that operate in the construction of identity and travesti corporeality in Naty Menstrual's performance. Like Bevacqua, we emphasize in Susy Shock the signic tension that the author notes between the costume and make-up, that align with the mimesis of the normative feminine models, and the way that the voice and gestures take that mimesis apart.…”