A reflection on the constitution of drag queens in dialogue with the personifications of Japan
Drag Queens are a reference in the history of theater and perfor-mance, in gender discussions and in fashion research. In the West, this mark of diversity emerges more strongly in the media, from the 1990s onwards in the United States. In Asia, it can be said that there is a dialogue between Drag an...
| Authors: | ; |
|---|---|
| Format: | Article |
| Status: | Published version |
| Publication date: | 2025 |
| Country: | Brasil |
| Institution: | UDESC |
| Repository: | ModaPalavra e-periódico |
| Language: | Portuguese |
| OAI Identifier: | oai::article/25946 |
| Online Access: | https://www.revistas.udesc.br/index.php/modapalavra/article/view/25946 |
| Access Level: | Open access |
| Keyword: | drag queen onnagata fabulação fabulation fabulacíon |
| _version_ | 1878763275540234240 |
|---|---|
| author | Hampshire, Maria Paula |
| author2 | Greiner, Christine |
| author2_role | author |
| author_browse | Greiner, Christine Hampshire, Maria Paula |
| author_facet | Hampshire, Maria Paula Greiner, Christine |
| author_role | author |
| collection | ModaPalavra e-periódico |
| description | Drag Queens are a reference in the history of theater and perfor-mance, in gender discussions and in fashion research. In the West, this mark of diversity emerges more strongly in the media, from the 1990s onwards in the United States. In Asia, it can be said that there is a dialogue between Drag and the Arts of the Body, which dates back to the seventeenth century, and clothes and makeup ended up acting as body activators, thus surpassing the traditional notion of costume. This article aims to discuss the performative constitution of Drag Queens specifically documented by Cláudia Guimarães in São Paulo and of onnagata actors from kabuki theater in interface with some characters from Kazuo Ohno’s butoh dance. The methodology involves bibliographic research supported mainly by the bodymedia theory (Katz; Greiner, 2015) and iconograph-ic research to qualitatively analyze singularities of bodies outside heteronormative standards, pointing out how trans fashion has ac-tivated political and existential issues that have already completed four centuries and can be considered a fabulatory device to make subjectivities explicit. |
| eu_rights_str_mv | openAccess |
| format | article |
| id | BR_bd7ada2bc6732da4e77ae7908cc3dbc8 |
| institution | UDESC |
| instname_str | Universidade do Estado de Santa Catarina (UDESC) |
| language | por |
| network_acronym_str | BR |
| network_name_str | Brasil |
| oai_identifier_str | oai::article/25946 |
| publishDate | 2025 |
| publishDateSort | 2025 |
| publisher | Universidade do Estado de Santa Catarina |
| publisherStr | Universidade do Estado de Santa Catarina |
| reponame_str | ModaPalavra e-periódico |
| spelling | A reflection on the constitution of drag queens in dialogue with the personifications of Japan Una reflexión sobre la constitución de drag queens en diálogo con las personificaciones de Japón Uma reflexão sobre a constituição das drag queens em interlocução com as personificações do Japão Hampshire, Maria Paula Greiner, Christine drag queen onnagata fabulação fabulation fabulacíon Drag Queens are a reference in the history of theater and perfor-mance, in gender discussions and in fashion research. In the West, this mark of diversity emerges more strongly in the media, from the 1990s onwards in the United States. In Asia, it can be said that there is a dialogue between Drag and the Arts of the Body, which dates back to the seventeenth century, and clothes and makeup ended up acting as body activators, thus surpassing the traditional notion of costume. This article aims to discuss the performative constitution of Drag Queens specifically documented by Cláudia Guimarães in São Paulo and of onnagata actors from kabuki theater in interface with some characters from Kazuo Ohno’s butoh dance. The methodology involves bibliographic research supported mainly by the bodymedia theory (Katz; Greiner, 2015) and iconograph-ic research to qualitatively analyze singularities of bodies outside heteronormative standards, pointing out how trans fashion has ac-tivated political and existential issues that have already completed four centuries and can be considered a fabulatory device to make subjectivities explicit. Las drag queens son un referente en la historia del teatro y la per-formance, en las discusiones de género y en la investigación de moda. En Occidente, esta marca de diversidad emerge con más fuerza en los medios de comunicación, a partir de la década de 1990 en Estados Unidos. En Asia, se puede decir que existe un diálogo entre el Drag y las Artes del Cuerpo, que se remonta al siglo XVII, y la ropa y el maquillaje terminaron actuando como activadores corporales, superando así la noción tradicional de ves-tuario. Este artículo tiene como objetivo discutir la constitución performativa de las Drag Queens, específicamente documentada por Cláudia Guimarães en São Paulo, y de los actores onnagata del teatro kabuki en interfaz con algunos personajes de la dan-za butoh de Kazuo Ohno. La metodología involucra la investiga-ción bibliográfica apoyada principalmente en la teoría corpomedia (Katz; Greiner, 2015) y una investigación iconográfica para anali-zar cualitativamente las singularidades de los cuerpos fuera de los estándares heteronormativos, señalando cómo la moda trans ha activado cuestiones políticas y existenciales que ya han cumplido cuatro siglos y que pueden considerarse un dispositivo fabulatorio para hacer explícitas las subjetividades. As Drag Queens são uma referência na história do teatro e da performance, nas discussões de gênero e nas pesquisas de moda. No Ocidente, este marco de diversidade emerge com mais força nas mídias, a partir dos anos 1990 nos Estados Unidos. Na Ásia, pode-se dizer que há uma interlocução entre as Drags e as Artes do Corpo, que remontam ao século XVII, sendo que as vestes e a maquiagem acabaram agindo como ativadoras de corpos, ultrapassando assim a noção tradicional de figurino. Este artigo tem como objetivo discutir sobre a constituição performática de Drag Queens documentadas especificamente por Cláudia Guimarães em São Paulo e de atores onnagata do teatro kabuki em interface com algumas personagens da dança butô de Kazuo Ohno. A metodologia envolve pesquisa bibliográfica amparada principalmente na teoria corpomídia (Katz; Greiner, 2015) e pesquisa iconográfica para analisar de forma qualitativa singularidades de corpos fora dos padrões heteronormativos, apontando como a moda trans tem ativado questões políticas e existenciais que já completam quatro séculos e pode ser considerada um dispositivo fabulatório para explicitar subjetividades. Universidade do Estado de Santa Catarina https://www.revistas.udesc.br/index.php/modapalavra/article/view/25946 10.5965/1982615x18442025180 |
| spellingShingle | A reflection on the constitution of drag queens in dialogue with the personifications of Japan Hampshire, Maria Paula drag queen onnagata fabulação fabulation fabulacíon |
| status_str | publishedVersion |
| title | A reflection on the constitution of drag queens in dialogue with the personifications of Japan |
| title_full | A reflection on the constitution of drag queens in dialogue with the personifications of Japan |
| title_fullStr | A reflection on the constitution of drag queens in dialogue with the personifications of Japan |
| title_full_unstemmed | A reflection on the constitution of drag queens in dialogue with the personifications of Japan |
| title_short | A reflection on the constitution of drag queens in dialogue with the personifications of Japan |
| title_sort | A reflection on the constitution of drag queens in dialogue with the personifications of Japan |
| topic | drag queen onnagata fabulação fabulation fabulacíon |
| topic_facet | drag queen onnagata fabulação fabulation fabulacíon |
| url | https://www.revistas.udesc.br/index.php/modapalavra/article/view/25946 |