2 Most of us are not even working in the arts sector, due to the lack of opportunities, dignity and appreciation of our productions, which is experienced differently across different forms.

3 The fact that Latin transgender people are on the periphery of the periphery of the periphery of capitalism (and this should not be understood as redundancy) is related to the fact that we are still not heard by people all over the world.

4 To my knowledge, the first and last article published by a trans person in this journal was Pearlman, Lazlo, ‘“Dissemblage” and “Truth Traps”: Creating Methodologies of Resistance in Queer Autobiographical Theatre’, Theatre Research international, 40, 1 (March 2015), pp. 88–91CrossRefGoogle Scholar.

5 See Dodi Leal (org.), Teatra da Oprimida: Últimas fronteiras cênicas da pré-transição de gênero (São Paulo: Federal University of Southern Bahia, 2019), at https://dodileal.wixsite.com/ilumilutas/textos (accessed 22 April 2020).

6 See Dodi Leal, Transgender Performativity: Poetic Equations of Reciprocal Recognition in Theatrical Reception (PhD thesis in social psychology) (São Paulo: University of São Paulo Psychology Institute, 2018).

7 ‘Social name’ is a very controversial public policy for trans people in Brazil, legally recognizing trans people's name in opposition to the civil name, given at birth. In 2018 Brazil launched a greater (but still problematic) public policy on this issue, facilitating the change of civil name and gender in all official records (I personally got this right in September 2018).

8 See Leal, Transgender Performativity.

9 See Leal, Dodi and Rosa, André, ‘Transgenerities in Performance: Gender Disobedience and Anticoloniality in the Performing Arts’, Brazilian Journal on Presence Studies, 10, 3 (2020), pp. 1–29Google Scholar, available at www.scielo.br/scielo.php?script=sci_arttext&pid=S2237-26602020000300205&lng=en&nrm=iso&tlng=en (accessed 27 April 2021).

10 In 2019 and 2020 I was a theatre critic at MITsp – International Theater Festival of São Paulo, where I wrote about some of the plays by transgender people, such as Manifesto Transpofágico (from Brazil, written and performed by Renata Carvalho), MDLSX (from Italy, performed by Silvia Calderoni), Burgerz (from United Kingdom, written and performed by Travis Alabanza), The Gospel According to Jesus, Queen of Heaven (from the United Kingdom, written and performed by Jo Clifford), and Contes immoraux – Partie 1: Maison mère (from France, directed and performed by Phia Ménard). See the Festival website at http://mitsp.org (accessed 17 May 2020).

11 In Portuguese, nouns ending in -o have masculine grammatical gender and nouns ending in -a have feminine gender.

12 Renata Carvalho's speech at Khalil de Santana Piloto titled ‘SARARÁ TRANS: produção e recepção cultural da transgeneridade negra’, supervised by Dr Dodi Leal at the Federal University of Southern Bahia (2020).

13 See Jota Mombaça, ‘Towards a Gender Disobedient & Anti-Colonial Redistribution of Violence’, trans. Daniel Lourenço, in Who Would Be Free Themselves Must Strike the Blow (São Paulo: Fundação Bienal de São Paulo, 2016), pp. 1–20, available at: https://downandoutdistro.noblogs.org/files/2019/05/Redistribution-violence-1-1.pdf (accessed 15 September 2021).

14 See Hans Ulrich Gumbrecht, Production of Presence: What the Meaning Cannot Convey (Palo Alto: Stanford University Press, 2004).

15 Transfake is a concept currently used in performing arts in Brazil to refer to when a cisgender person plays a trans role, writes about trans issues (even when trying to do it positively) or occupies some paid working function intending to ‘support’ the trans cause, but in its place taking job opportunities from trans people. So, in accordance with this perspective, you have to be trans to write about transgender issues, but also cisgender people need to seriously face their cisness in order to understand it better; to stop running away from talking about it; and, especially, to stop talking about transgender issues as a way to escape talking about being cisgender. Transfake has some inspiration in the blackface public reports, where white people in an opportunistic way play black roles and all the other implications of a longer history of the nineteenth-century theatre that we cannot analyse here.

16 For a discussion of gender bioterrorism see Paul Preciado, Testo Junkie: Sex, Drugs and Biopolitics in the Pharmacopornographic Era, trans. Bruce Benderson (New York: The Feminist Press at CUNY, 2013), p. 432.

17 This complex process, which I recognize as a way of cis guardianship of transness in the arts, happens not only in Brazilian art. To see another example of this related to the hijras in India see Gupta, Ankush, ‘Trans-lating Hijra Identity: Performance Culture as Politics’, Theatre Research International, 44, 1 (March 2019), pp. 71–5CrossRefGoogle Scholar. We as trans people do not need to be ‘translated to the cis world’ because we are not an object of study; we are people, we are art workers, we are sex, education and factory workers. We just want our place and our dignity respected by society.