The invasion of Teatro São Luiz by the actress and trans activist Keyla Brasil, one of the founders of TransParadise, occurred during the performance of the play “All About My Mother”. Keyla protested against the lack of representation of transgender actors, specifically contesting the choice of a cisgender actor, André Patrício, to portray a transgender character in the play. During the protest, she expressed her outrage and highlighted the difficulty that trans people face in finding opportunities in the arts in Portugal, relating it to her own experience as a sex worker.
Keyla’s action on stage was met with applause from the audience and sparked a dialogue with other artists present. Actress Maria João Luís and artist Gaya de Medeiros acknowledged the significance of Keyla’s gesture in the trans struggle. After the incident, Teatro do Vão, responsible for staging the play, expressed solidarity with Keyla’s fight and announced the replacement of André Patrício with transgender actress Maria João Vaz.
This event marked a significant milestone in the discussion about the representation and inclusion of trans people in the arts in Portugal, drawing attention to the need for more inclusive and representative spaces.
Political repercussions
There was a vote to decide whether the government supported or condemned the act. The approval of a vote of solidarity with theatre professionals — while also rejecting accusations of transphobia in the play “All About My Mother” — indicates an attempt to balance artistic freedom of expression with emerging social concerns. This vote, proposed by the Culture Councillor, Diogo Moura, reflects a crucial turning point in the dialogue between art and politics.
Our reflections
On 19 January, we mark the anniversary of an act that redefined the contours of the contemporary stage in Portugal. TransParadise challenged colonial structures. The act of “discovering” the stage, far from being an invasion, was a claim for space, a living manifesto. By choosing a moment of high artistic visibility, we not only brought to light the marginalisation of trans bodies in the arts but also questioned who has the right to claim spaces of expression (Mignolo, 2007).
It wasn’t an invasion, it was a discovery. Hija de Perra (2014) asks: do we exist only since they discovered us? Another interpretation of the word “discovery” brings up the idea of revealing and unveiling hidden truths. In this context, “discovery” transcends mere physical action; it becomes a symbolic act of resistance and empowerment.
References
Césaire, A. (1955). Discourse on Colonialism. Mignolo, W. (2007). The Decolonial Option. Perra, H. d. (2014). Revista Periódicus, 2nd ed. Quijano, A. (2000). Coloniality of Power. Nepantla, 1(3), 533–580.