Da troca de pernas no leito de viúvas sem porvir : a transgressão feminina em Ana de Amsterdã, Bárbara e Geni, de Chico Buarque

Abstract

This research presents the theme of female transgression in Buarquean characters Ana de Amsterdam, Bárbara, and Geni. The characters are featured as transgressors which is reflected in their conditions as prostitutes, lesbians, and transvestites. They were developed during the Military Dictatorship for the plays Calabar: o elogio da traição (1973) and Ópera do Malandro (1978). The qualitative methodology is applied to the literature and is based on the analysis of the songs contained in those plays in which the characters assume eu-lyrical. The research is structured in three steps: theoretical framework decision by using a decoloniality approach; delineation of the corpus (songs to be addressed); and analysis of the characters from the perspective of their subordinate conditions. The work is divided into three chapters: the first containing the analysis of the historical context, since these characters were developed during the Brazilian military period. The second chapter is dedicated to the analysis of Ana de Amsterdam as a prostitute. The theoretical framework is Rebecca Solnit (2016), Sílvia Federici (2017), Monique Prada (2018). Bárbara is analyzed as a lesbian in the light of Monique Wittig (1980) and Tania Navarro-Swain (2004). The third chapter, aimed at Geni, works on the construction of transgender identity based on Viviane Vergueiro (2015), Jaqueline de Jesus (2012) and Sara Wagner York, Megg Rayara Oliveira, and Bruna Benevides (2020). The three Buarquean women studied here used female transgression to break with their private sphere when they prostituted themselves, with compulsory heterosexuality when relating to another woman and with cisgender, by assuming the transgender identity.