Eva Perón, Copi e a poética transterrada

Abstract

This research looks on an analytical study on the Argentine author Copi and his peculiar and singular form of writing dramatic texts. With regard to the corpus of the work, the author's dramatic production was cut out and the choice was made for the play Eva Perón (2000) and the homonymous scenic adaptation Eva Perón (2017) by Marcial Di Fonzo Bo. In order to understand the functionality of the author's thinking, this exploratory work is guided by the studies of DINIZ (2016, 2017, 2018), involving and contemplating the transcribed poetics. Still on the author, Copi was not unique only for the way he created his dramaturgy, but he was also unique in the way he acted and directed his shows. His characters contained traits of his personality, desires and/or trajectories. Because of this, his most striking creation, Eva Perón, a historical subject, appears in his work as a fragmented woman and, like the author, belonging to the cultural inter­place. Seeking to understand this reconstruction that the author makes of the mythical character, this study begins to reflect on the subject's incessant search for power, which is presented by FOUCAULT (1992) as an intrinsic movement in search of identity. The study also presents a brief vital trajectory of the author, Copi, as a way of disseminating his history, to serve as an object for new literary studies, starting from a vanguard, Latin American and non­canonical author. In the final scene, the reflection on the transterranced body (DINIZ, 2016, 2017, 2018) stands out as an instrument of cultural decolonization and performance, based on those previously mentioned: the show Eva Perón (2017) by Marcial Di Fonzo Bo and Copi's dramatic text.