Resumen
El presente estudio indaga acerca de las manifestaciones artísticas contemporáneas que fueron realizadas por transformistas en el marco de las fiestas llamadas Trabestia Drag Club en Buenos Aires, Argentina. En primer lugar, se desarrolla la noción de transformismos y se analizan, desde la filosofía del teatro, las performances que allí realizaron Le Brujx y Lest Skeleton. En segunda instancia, se estudia el modo en que las corporalidades de estes artistas transformistas fisuraron el programa operativo a partir del cual se producen percepciones sensoriales que fijan una identidad de género. Para esto, se problematiza el estatuto de realidad que puede asignársele a estas performances. Asimismo, se examinan las tensiones que se produjeron en el campo teatral de Buenos Aires al considerar a las prácticas transformistas como parte del teatro liminal. Se plantea que a las performances de Le Brujx y Lest Skeleton, que se constituyeron como prácticas disidentes que cuestionaron eficazmente la matriz heterocisexual y la noción misma de género por su incesante mutabilidad identitaria y por exceder la instancia espectacular de mostración frente a espectadores, se las puede analizar como acontecimientos teatrales al ampliar las posibilidades de clasificación.
Interstices within the notion of gender: contemporary drag queen practices in Buenos Aires
Abstract
This paper investigates the contemporary artistic manifestations that were made by drag artists within the framework of the parties called Trabestia Drag Club in Buenos Aires, Argentina. In the first place, the notion of drag is developed, and Le Brujx and Lest Skeleton’s performances are analyzed within the tools provided by Dubatti’s philosophy of theater. In the second place, it is studied the way in which the corporalities of these drag artists seemed to crack the operational program from which sensory perceptions are produced that fix a gender identity. For this, the status of reality, that could be assigned to these performances, is problematized. Likewise, the tensions that were produced in the theatrical field of Buenos Aires are examined when considering the drag practices as part of the liminal theater. It is suggested that the performances done by Le Brujx and Lest Skeleton were constituted as dissident practices that effectively questioned the hetero-cis-sexual matrix and the very notion of gender. This was achieved due to their incessant identity mutability and because their drag performances exceeded the spectacular instance. It is proposed that these performances can be understood as theater events as the extend the classification possibilities.