Autoetnografando a criação: uma leitura de Fala baixo, senão eu grito

Abstract

In this dissertation, I address the intersection between autoethnography, dramaturgical text, and creative processes, investigating how subjective and academic experiences produce knowledge. The central focus was the reading of the play Fala baixo, senão eu grito (1969), by Leilah Assumpção, articulated through a reading diary, which was analyzed with emphasis on the relationship between reader, text, and identities. As a general objective, I sought to understand, through research, how the experience of reading, traversed by subjectivities, enables reflections on identity, creativity, and social tensions, while problematizing the marginalization of dramatic literature within academic spaces. The specific objectives included analyzing reading as a performative and investigative experience, examining the role of the reading diary as an autoethnographic instrument, and exploring the relationship between feminine, creativity, and writing, considering identity displacements and ethical, epistemological, and political reflections, as well as developing an understanding of the identities present in the reading diary as a character constructed throughout the process. I adopted autoethnography as a qualitative methodological approach, grounded in the theoretical frameworks of Carolyn Ellis (2004), Daniela Versiani (2005), Eline Marques dos Santos (2016), Josalba Fabiana dos Santos (2020; 2023; 2024), and Daniel Manzoni-de-Almeida (2021), using my personal experience as the basis for analysis. The reading diary recorded impressions, reflections, and ongoing interpretations of Assumpção’s work, enabling the examination of the intersections between subjective experience and the construction of meaning within the text. The results showed that autoethnographic practice made it possible to understand reading and the creative process as spaces in which multiple identities, particularly those of woman, actress, and creator, manifest and transform. The study also revealed that these identities emerge in the diary as a character constructed through the very process of reading and writing, analyzed in light of theatrical theoretical frameworks, especially those of Bertolt Brecht (1967) and Constantin Stanislavski (2001). The research reinforced the autonomy of the dramaturgical text and highlighted the potential of autoethnography to produce critical knowledge by articulating lived experience, reading, and writing, while simultaneously legitimizing subjective experiences traditionally rendered invisible.