Publication: Évita, Irina y Loretta: diversidad sexual e identidad fluida en el teatro de Copi.
Authors
Vásquez Sáenz, Henry F.
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Publisher
Universidad de Murcia, Servicio de Publicaciones
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DOI
https://doi.org/10.6018/analesff.497871
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info:eu-repo/semantics/article
Description
Abstract
Copi, un Parisien d’Argentine, “inclassable”, a
écrit presque toute son œuvre en français. Un
bref parcours autour de sa production théâtrale et de l’analyse de quelques pièces (Eva
Peron, 1969; L’homosexuel ou la difficulté de
s’exprimer, 1971; et Loretta Strong, 1974), à
travers les personnages emblématiques d’Évita,
Irina et Loretta, nous permettra de découvrir les
mécanismes subversifs de cet auteur hybride et
polyvalent. Le pari par des personnages irrévérencieux et subversifs, à l’époque de gestation
de nouvelles idées révolutionnaires et de libération sexuelle, le théâtre de Copi devient un
espace d’innovation et de rupture. En effet, l’un
des aspects les plus récurrents est la diversité
sexuelle et identitaire des personnages qui pullulent dans son imaginaire: des travestis, des
homosexuels, des transsexuels, etc. Tout un
univers d’êtres «queers» en mutation et inclassables. Copi, nous propose-t-il une nouvelle
conception du théâtre où les frontières de la
fiction avec la vie se diluent et se confondent?
Copi, a Parisian from Argentina, “unclassifiable” for many, wrote almost all his work in French, with some exceptions. A brief tour around his theatrical production and the analysis of some works (Eva Peron, 1969, L’homosexuel ou la difficulté de s’exprimer, 1971 and Loretta Strong, 1974), through his most representative characters: Évita, Irina and Loretta, will allow us to discover the subversive mechanisms of this hybrid and polyvalent author. The commitment to irreverent and transgressive characters, during the gestation period of new revolutionary ideas and sexual liberation, makes Copi’s theater a space of innovation and rupture. In fact, one of the most recurrent aspects is the sexual and identity diversity of the characters that swarm in their imagination: transvestites, homosexuals and transsexuals. A whole universe full of “queer” beings in mutation and unclassifiable. Does Copi propose a new conception of theater where the borders of fiction with life are diluted and confused?
Copi, a Parisian from Argentina, “unclassifiable” for many, wrote almost all his work in French, with some exceptions. A brief tour around his theatrical production and the analysis of some works (Eva Peron, 1969, L’homosexuel ou la difficulté de s’exprimer, 1971 and Loretta Strong, 1974), through his most representative characters: Évita, Irina and Loretta, will allow us to discover the subversive mechanisms of this hybrid and polyvalent author. The commitment to irreverent and transgressive characters, during the gestation period of new revolutionary ideas and sexual liberation, makes Copi’s theater a space of innovation and rupture. In fact, one of the most recurrent aspects is the sexual and identity diversity of the characters that swarm in their imagination: transvestites, homosexuals and transsexuals. A whole universe full of “queer” beings in mutation and unclassifiable. Does Copi propose a new conception of theater where the borders of fiction with life are diluted and confused?
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Citation
Anales de Filología Francesa, Nº. 30, 2022
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