2026-09-082026-09-082026-07-23GOMES, Hugo Leonardo Corrêa. Aphrodite, Shantey você fica: a sagrada performatividade cênica, coletiva e memorial de uma Drag Queen. Orientador: Adriano Penha Furtado. 2026. 79 f. Trabalho de Curso (Licenciatura em Teatro) – Escola de Teatro e Dança, Instituto de Ciências da Arte, Universidade Federal do Pará, Belém, 2026. Disponível em: https://bdm.ufpa.br/handle/prefix/10141. Acesso em:.https://bdm.ufpa.br/handle/prefix/10141This study is part of the field of performing arts and performance, focusing on the construction of the drag queen persona Aphrodite through theoretical and practical research titled “Aphrodite, shantey you stay: the sacred scenic, collective, and memorial performativity of a drag queen.” The research problematizes how memories and experiences of a body marked by compulsory heteronormativity can be resignified as artistic potential. The objective of this work was to analyze the scenic and memorial performativity of the persona, understanding how the affective rescue of personal archives acts in the reconstruction of dissident identities. The adopted methodology is qualitative and based on performative and memorialistic autoethnography. The methodological path was structured from the affective visitation and construction of a captioned personal photo album, serving as a device for analysis and reflection on family, spiritual, and artistic trajectories. The theoretical framework is anchored in the concepts of body-screen, by Leda Maria Martins, and gender performativity, by Judith Butler. From this intersection, the work proposes the concept of "drag-memory," defined as an affective technology that transmutes the artist's living body into aesthetic language. The results indicate that Aphrodite's performance transcends the interpretation of the "other" by taking control of one's own projection, resulting in an interconnectivity of subjectivities. Furthermore, the notion of "aesthetics of transmutation" is introduced, where forms and motivations repeat cyclically. It is concluded that the drag body, as a body-screen, reinscribes ancestral and affective knowledge in the scenic space, reaffirming the potential of self-writings as tools for political resistance and collective sharing.Acesso AbertoRepresentação teatralPerformanceAutoetnografiaTheatrical performancePerformanceAutoethnographyCNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::TEATROTrabalho de Curso - Graduação - MonografiaAttribution 3.0 Brazil