Repetitions and breaks between the streets and the scene: a case study on gender performance for the show Sofia-35

Abstract

Abstract: This article seeks to understand how performative acts are articulated in John Langshaw Austin’s critique of
language. It analyzes how this theory has been modified based on the thinking of Jacques Derrida, considering how both,
in their convergences and divergences, were essential for Judith Butler’s theorizing about the performativity of the genre.
Based on action research, this article analyzes how art, theater, and performance increasingly serve the analogies,
counterpoints and articulations of performativity in the action of humankind, literature, and everyday representation.
Finally, the study shows how performativity is present in the dramaturgical conception of the Sofia-35 spectacle. In
conclusion, repetition is not only a way of sustaining some types of oppression, but also of redirecting the weight of the
past; that identity is an instrument of regulatory regime; that compulsory heterosexuality as the original disarticulates the rights of the LGBTIQ community, hurting us tirelessly, and that the Sofia-35 show is a project, in which autobiographical
aesthetics helps to question repetitions, patterns, reconfigured experiences for the scene, and the possibility of performative
writing, plural, which creates new signifiers and narrative possibilities.
Keywords: Performativity. Theater. Dramaturgy. Autobiography.