"What are our bodies made of? How are they constituted? What to say about their sexual matter? Is it possible to include bio-technology within the repertoire of performative effects of the genre? are some of the questions-problems with which Martín De Mauro introduces the body to the scene, in a singular context dominated by the renegotiation of sexual and generic regulations. If in a sense the body—expelled from history, content as nature—was the impasse for feminist theory, both in its version of difference and social constructivism of the genre, the widely disseminated reception of Judith Butler and Paul B. Preciado makes it necessary to intercept the narrative function of it in their theoretical productions.

This work introduces, throughout its pages, those who resist in the fields of sex-generic force, even in terms of a discursive economy, such as trans and intersex people, often backdrop of theory, reducidxs to the logic of the test, object of the gaze, guarantors of revolution or contenidxs as apoteosis antinormative. Between opening and closing the curtain we witness the movement of the body – historical semantic coffin for the finished categories – by that of body production techniques, the perfomative effects and the orbiting of the cis subtext in both toolboxes.

The non-original recitation of the genus/pharmacopornographic regimen/prosthetic incorporation and heterosexual matrix are some of the terms that seem to collapse within each other along Bodies on stage. Butler and Preciado are bed-partners in this original essay interested in body production, its ever-unstable articulation, an effort to open up political imaginaries as well as address the modes of possessive reontologization and voice cancellation that dominate much of contemporary theories organized around gender and sexuality." Emmanuel Theumer