A Santa Joana dos matadouros: por uma abertura crítica e interpretativa da mulher trabalhadora a partir do teatro épico de Bertold Brecht

Abstract

This research is located in the interdisciplinary relationship between law, literature and theater. In a critical epistemology of law, legal science contemplates aspects not only normative, but also linguistic, aesthetic, narrative and fictional. Through a methodological approach based on phenomenologica-existential and decoloniality, the law will be understood as a dynamic, intertextual, intentional and intersubjective relationship. This dissertational work will articulate the leading role of the citizen in pluralistic constitutional hermeneutics (HÄBERLE, 1997), the reader's protagonism in the aesthetics of literary reception (ISER; JAUSS, 1979) and the role of the spectator in the epic theater (BRECHT, 2002; 2005). It was up to the Brechtian epic theater to give the ordinary citizen the ability to interpret reality and act on it, in the face of political, historical, didactic and dialectical tensions on stage. Through the strangeness and distance between actor, theatrical and spectator scene (PEIXOTO, 1974), the epic theater returns the protagonism to the performer, by stimulating the critical and emancipatory capacity of the subject, contrary to the passivity and contemplative passivity of the classical spectator of the Aristotelian theater (KOUDELA, 1991; 2001). In this sense, this study has as hypothesis that the play A Santa Joana dos Matadouros (BRECHT, 2009) and the protagonist Joana Dark are powerful links for the jusfeminist and critical reflection of the Democratic State of Law, the fundamental right to decent work, the precarious nature of contemporary work and gender inequalities in the sexual division of labor, taking as a decolonial and analytical parameter the current Brazilian legislation (BRAZIL , 1943; 1988; 2017) and the recent jurisprudential action of the Supreme Federal Court (BRAZIL, 2019). The crisis of capitalism experienced by the collapse of the New York stock exchange in 1929, which initiated the Great Economic Depression of the United States is the scenario chosen by Brecht to think about the symbolic and structural violence of the dominant groups, the miserability of the working class, the bankruptcy of labor rights and the dehumanization of dignified and decent work and the vulnerability of working women. Gender hierarchies are structurally established in the working and capitalist class, with women being the domestic, inferior and reproductive economy and man the higher and productive sphere (SAFFIOTI, 1976; 2015). Thinking about the Joanas behind the workers is to go through a time of religious, legal, legislative and social silences, a time of exhaustive journeys, precariousness of the female workforce and informality (ANTUNES, 2009). In this flow between law, literature and theater, it is evident how much the traditional, dogmatic and positivist epistemology of law, formed by closed and universalizing concepts and meanings, is insufficient and strongly demarcated by colonial heritages. The epistemologies and plural knowledge of the global south need to occupy the spaces of symbolic and material power (ANZALDÚA, 2000). There is a real world that pulses and lives beyond the norm, beyond individualism, beyond the boundaries that separade science, art and citizen experience.