Madame Satã is no doubt one of the most famous representative of the malandragem from the first half of XX century. But the character includes, indeed, features that insert him into other categories as, black, homosexual and delinquent. This study aims to reveal a complex process that imbricates symbolic appropriation (and re-signification) of the malandro, and the applying of biopolitical strategies over the out of normative bodies. The identity unfoldings of Madame Satã suggests also a political potency to be explored. Over the years, the character interpretations go from the most conservative to the most transgressors, breaking out, besides the different contexts to which they belong, the distinct aesthetical and political projects delineated. The main purpose of this work is to analyse Madame Satã’s course and to promote a reflection about the power of body’s instrumentalization, taking the contemporary subjectivities production as the horizon for reflection. As well as his acting age, two specific moments are analyzed: The seventies, when he was put back on the media scene and published an autobiography, and the XXI century, after the release of the film Madame Satã (2002), by Karim Aïnouz.