Palhaçaria feminina na Amazônia brasileira: uma cartografia de subversões poéticas e cômicas

Abstract

My writing comes from my work as a comical woman crossing concerns about the clowns' genre and the experience of Amazonian artist. It is related to my personal need of expansios, on refrain, from loneliness, that is só present on my clowning career. On this research, I desired to map clown women who act in the Amazon, and also to understand possible meanings for female comicality from life stories of these women, and to analyse the relationships that I can find with the Amazon territory, in wich they are situaded, present in their doings. This is a playful cartography, which plays with concepts, geographies and subjects that crosses nomad meetings with clown women who work in this Amazonian territory.The writing, embodied in the constant dialogue between theory and transcribed reports of forty-one participants, can be freely visited in five parts. On the first one, the reader finds my way of life that results on the meeting with the research theme and also the way chosen to research it, discussing the cartographic assumptions that I found as epistemological possibilities. Then, there are two moments, called Bem-Te-Vis, which are based on the structure of Deleuzian plateaus. The Bem-Te-Vis focus on the overlapping powers that guide the research, the female, the comic an Amazonian. I aboard the first two concurrently, while going through historical and social constructions about the common female roles, subverted by the clown, who is naturally transgressive. The third power is discussed separately, focusing on the Amazons present in the doings of the clown women found, that help me on mainstreaming the region, apart from my political positions against lack of acess, relative to the rest of the country and the lush image widespreaded on the midia. I recognize the difference at the Amazonian clown women through repetion in transdifference, that blurs my map of regional boundaries, in becoming-minority with the territory. Between the approach of the powers, I have written na invented history for the clown, which follows a personal need a political strategy by the end of silence. At the end, the reader finds the first chapter on the dissertation, where there are considerations about the Amazonian female clowning, undoing, on scene, my suitcase, full of what I have lived at the meetings, while I aboard the landscapes of gender and territory, found in paths on this research.