Biotecnologias Da Cena

What are the limits of the body and technology? For the theatrical scene to become an interface between organic and machinic apparatuses, what assumptions does it need to meet? How are attitudinal experiences of gender organized into aesthetic and ethical values of theatricality? This essay aims to analyze some elements from the works of Brazilian theater writer Augusto Boal and Spanish philosopher Paul Preciado in order to understand the status of biotechnologies in the current theater scene. Considering machinic corporeality and gender technologies as overlaps that invite us to think about the tremors of ontology in the face of the discourses of the “end of the body” and the “end of gender”, this study takes the bodylight composition as a syntagm of the inseparability of the organic circuit -machine. In addition to the field of stage lighting or other technological devices used in theatrical production, this text also addresses some conceptual sets that require new reflections. In this sense, the sensitive thinking elaborated by Boal (2009), for example, today could be in tension with the biotechnologies of pornopower and the aesthetics of techno-ecosystems, as Preciado (2018) encourages us. Contemporary ethical gender decisions, here coined genderetics, promote transfeminist inflections that are organized not in crossroads, but in encruzitravas

Lived experience · Ontology · Arts and Performance Studies · Gender, Sexuality, and Education · History, Culture, and Society