After giving life to Yuki a business woman, in “Back over” , Jacqueline Sato 35, says goodbye to Claudia Souto’s plot next Saturday (26), with a more than positive balance, since the newsletter marked her symbolic turn in the struggle for Less caricatous and deeper representations of Nipo-Brazilian women in national dramaturgy .
In the newsletter, his character, unlike supporting and ethnically stigmatized figures, is a woman contemplated by multiplicity, that is, she is crossed by the pressures of the contemporary world, contradictions of adulthood and affections that make her unquestionably real. “It is not shaped by exoticism, nor for the didactic function of representing an isolated ancestry of the present. It is a living body of the city, is a common woman, and, therefore, political,” he tells the CNN .
“Making Yuki was, for me, a place of challenge and freedom. I always sought roles that would instigate me and reveal versatility as an actress. On many previous occasions in my career, I had to analyze if the character would reinforce some stereotype, and make conscious choices of opening dialogue when there was need, or refrain from doing some work that reinforced prejudices,” he adds.
With Yuki, however, the story was completely different. “Since the first conversation with the author and the director, she promised to be a complex multifaceted woman, and turned out to be even more than I could imagine. Yuki is an administrative assistant, efficient, but full of insecurities, loves the wrong person, then allows himself to open the heart again to another person, who is not good for her, turns back, discusses, speaks her truth, a charactergic and sensitive. Versions of herself and very authentic in each of them. She is another Brazilian dealing with the paradoxes of the now.
For Sato, being seen within plurality in important roles, being an actress of Asian descent, is still an achievement. “Many times, the Japanese-Brazilian characters only enter the plot in papers with little narrative relevance, and almost always spend most of their time justifying an ancestry that needs to be explained all the time. As if Brazil was not, he himself, this intertwining of multiple root identities,” he says.
Construction of Yuki was an intimate process of reconfiguration, says Jacqueline
Even CNN Jacqueline explains that the process of building her character also walked into an intimate movement of reconfiguration. “Yuki made me understand how strong, independent and intelligent women can also fall into very serious abusive relationships, and as much as they have, they have difficulty in this cyclical path of overcoming and healing.”
“Outside it was a character who was not a pamphletary in any cause, but still strengthened many, through his well -built existence in the plot. From the agenda about abusive relationships, private jail, femicide, to the representativeness of yellow people, many people came to thank me for telling that story that way, and how important it was to see it on TV. They were happy to see someone similar to them occupying this space in this way. It is a character with a very striking identity that managed to sensitize many people “, he adds.
“The fact that it exists in the way it exists in this narrative, contributes to the reconfiguration of the collective imagination about women racialized with the many prejudices that are part of it, and about abuse women, and all the influence that patriarchy has in this dynamic. And this is liberating,” he concluded.
This content was originally published in Jacqueline Sato says goodbye to “back over”: “symbolic turn” on the CNN Brazil website.
Source: CNN Brasil
I’m Robert Neff, a professional writer and editor. I specialize in the entertainment section, providing up-to-date coverage on the latest developments in film, television and music. My work has been featured on World Stock Market and other prominent publications.
