Copi, Eva Perón e a Poética Transterrada do Corpo no Espetáculo
| Ano de defesa: | 2020 |
|---|---|
| Autor(a) principal: |
Rodrigues, Marcelo
 |
| Orientador(a): |
Diniz, Alai Garcia
|
| Banca de defesa: |
Pinto, Ana Carolina Teixeira
,
Silva, Acir Dias da
,
Alves, Lourdes Kaminski
|
| Tipo de documento: | Dissertação |
| Tipo de acesso: | Acesso aberto |
| Idioma: | por |
| Instituição de defesa: |
Universidade Estadual do Oeste do Paraná
Cascavel |
| Programa de Pós-Graduação: |
Programa de Pós-Graduação em Letras
|
| Departamento: |
Centro de Educação, Comunicação e Artes
|
| País: |
Brasil
|
| Palavras-chave em Português: | |
| Palavras-chave em Inglês: | |
| Área do conhecimento CNPq: | |
| Link de acesso: | http://tede.unioeste.br/handle/tede/4800 |
Resumo: | This dissertation contemplates a study to dramaturgy by the Argentinean author Copi and his peculiar and singular form of writing dramatic texts. Referring to this research corpus, it was made a cut in the dramatic production of the author and it was chosen Eva Perón (2000) play and the homonymous scenic adaptation Eva Perón (2017) by Marcial Di Fonzo Bo. To understand the functionality of the author's thinking, this exploratory work will be guided by DINIZ's (2016, 2017, 2018) studies involving and contemplating the transgrouded poetics. Still about the author, Copi was not only unique in the way he created his dramaturgy, but he also was unique in the way he performed and directed his shows. His characters contained his personality traits, wishes and/or trajectories. Because of this, his most striking character, Eva Perón, historical subject, appears in his work as a fragmented woman and, as the author, belonging to the cultural inter-place. Seeking to understand this reconstruction that the author establishes for the mythical character, this study makes an initial reflection on the ceaseless pursuit of man for power which is presented by FOUCAULT (1992) as intrinsic movement to the search for identity. In addition to the relations of identity and power surrounding the character of the Argentine First Lady, the present work also presents a brief vital trajectory of Eva Perón, related to some classic definitions of myth. As the main axis, this work is articulated in three parts called as scenes. Scene I turns to the presentation, both of the author in the form of biographical synthesis, and of the Brazilian studies that involve him, aiming to disseminate the achievements of this non-canonical Latin American artist. In scene II, the vital trajectory is resumed, in this moment having Eva Perón as protagonist and extending to the reflection on the classic concepts that permeate her condition of myth. In final scene, there is a study about the transgrouded body as an instrument of cultural and performative decolonization. With this study as corpus, Copi's Eva Perón (2000) play and the homonymous show directed by Marcial Di Fonzo Bo and it was put in the scene at the Argentine National Theater in 2017. |