A Linha que nos Divide:

o teatro negro racializando a branquitude

Authors

Keywords:

Decolonial art, whiteness, spectator, black theater

Abstract

A common factor among white people is the denial that they are racialized subjects, so that they use white fragility and innocence as strategies to protect and enjoy privilege and racial superiority. By the other hand, decolonial art is made up of a set of works that aim to separate the artistic production of non-Europeans and non-whites from a supposed position of inferiority based on coloniality. Thus, this research sought to understand how black theater, understood from this decolonial perspective, provides white Brazilian and Portuguese spectators with a racializing experience. The results allowed us to explore shared understandings about white identity, contributing to understanding the process of racialization of white spectators.

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Author Biography

Amanda Cunha, Universidade do Minho

Amanda Cunha

é mestre em Comunicação, Arte e Cultura pela Universidade do Minho (Portugal) e bacharel em Artes Cênicas pela Universidade Estadual Paulista (UNESP) (Brasil). É autora da dissertação de mestrado O Teatro Negro-Decolonial e os processos de (não) racialização do espectador teatral branco.

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Published

2025-04-29

How to Cite

Cunha, A. (2025). A Linha que nos Divide:: o teatro negro racializando a branquitude. Brazilian Journal on Presence Studies, 15(1). Retrieved from https://seer.ufrgs.br/index.php/presenca/article/view/136932

Issue

Vol. 15 No. 1 (2025): Jan./Mar. 2025

Section

Contemporary Topics IV

License

Copyright (c) 2025 Brazilian Journal on Presence Studies

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