Quando o ar puro não entra

feminino, violência e translação da linguagem teatral de Bivar

Abstract

This article analyzes the play Abre a janela e deixa entrar o ar puro e o sol da manhã, by Antônio Bivar, to highlight the layers of the feminine within the authoritarian context of the 1960s. The reading draws on Expressionism through the critical reflection of Gerd Bornheim and engages with Jaime Ginzburg on violence in repressive regimes. Considering Patrice Pavis, theater is understood as a language in translation, in which text and performance are reinscribed at the intersection of cultures and materialities. The play thus emerges as a form that continually demands translation, converting historical trauma into scenic imagery and exposing a feminine subjectivity marked by confinement, violence, and the dissolution of the self.