Abstract
A clown with a female body and a costume that makes this body visible is currently known as a 'palhaça' (female clown). For some time now, in Brazil, this term has persisted in the dialogue among contemporary artists, although there is still resistance to the acceptance of the figure of the 'palhaça' in the circus community. In these circumstances, we find it necessary to reflect on the importance of the emergence of the 'palhaça' in the art of clowning. The reflection proposed here is based, therefore, on the tradition and renewal of circus arts in general and clowning in particular, as practiced in Brazil. To this end, we turn to the study of the history, legacy, creations, and repercussions of clowns Piolin and Cadilac, who were active in the 20th century, and the 'palhaças' Mafalda Mafalda and Clowndette Maria, who are active in contemporary times. Piolin and Cadilac are important figures for the documentation, memory, and history of circus arts, while the 'palhaças' navigate between interdisciplinarity and hybridism within this language. From this study and reflection, we affirm the importance of the entry of the 'palhaça' for the renewal of clowning in both creative and aesthetic realms. Given that the presence of the female body occupies a space historically recognized as belonging to male clowns, the concept of the art of clowning will expand as the feminine manifested in the clown scene is legitimized and recognized.