| Summary: | Within the practices of subversion that are promoted in the performance of Pedro Lemebel, a ritualized use of the figuration of some Latin American divas of the middle of the XX century persists. At the time of deconstructing the homophobic discourse of the Chilean civic-military dictatorship, Lemebel traces from her reappropriations not only a becoming woman but a becoming diva, which, among its various dimensions, in-corporates differences of gender, sex, ethnicity, language, claiming a diversity of challenging bodies. The complicity that can be seen with these figurations of the feminine, opens an attractive field of analysis to explore common places and suggestive vanishing points, where they are mobilized as references of old and future irreverence.
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