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<dc:title xml:lang="fr">Le théâtre de Copi : processus et stratégies trans- : une approche Queer</dc:title>
<dcterms:alternative xml:lang="en">Copi's theatre : trans processes and strategies : a Queer approach</dcterms:alternative>
<dc:subject xml:lang="fr">Théâtre</dc:subject>
<dc:subject xml:lang="fr">Identité</dc:subject>
<dc:subject xml:lang="fr">Sexualité</dc:subject>
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<dc:subject xml:lang="fr">Copi</dc:subject>
<dc:subject xml:lang="en">Theater</dc:subject>
<dc:subject xml:lang="en">Identity</dc:subject>
<dc:subject xml:lang="en">Sexuality</dc:subject>
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<dc:subject xml:lang="en">Copi</dc:subject>
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<dcterms:abstract xml:lang="fr">Le théâtre de Copi nous transporte dans un univers imprégné de violence et de transgression, deux traits majeurs de la création de cet auteur singulier qui s’expose dans des prises de risques constantes, personnelles et artistiques. Il fait de son théâtre écrit à Paris, au cours des années soixante-dix, un espace où se joue la lutte pour la liberté du corps et de l’(homo)sexualité. Copi, artiste multiforme, contestataire et antisystème, n’eut de cesse de combattre et de déconstruire dramaturgiquement le langage hégémonique oppressif hétérosexuel. L’objectif de notre recherche sera d’aborder l’oeuvre de Copi à partir des processus et des stratégies trans-. pour analyser comment les concepts de transculturalité, de transidentité et de trans(s)exualité, imbriqués thématiquement à travers l’expérience du voyage, de l’exil et de l’errance, se transforment en un processus d’apprentissage (perception de la réalité) que Copi utilisera magistralement comme stratégie de représentation dans sa production littéraire et sa création artistique. Ses “monstres” ou ses “êtres queers”, “bizarres”, “anormaux” (des travestis, des homosexuels, des folles, des transexuels, des bisexuels, des queers, etc.), errent librement dans son univers imaginaire subversif pour nous rappeler qu’ils furent stigmatisés et victimes de l’insulte “queer”, selon Judith Butler “paralysante”, et prononcée, dans les termes de Paul B. Preciado, par des “sujets hétérosexuels”.</dcterms:abstract>
<dcterms:abstract xml:lang="en">Copi’s theatre leads straight to a universe full of violence and transgression; two highly distinctive features of a unique author who exposes himself dealing with complex topics and polemics such as sexuality in a decade (the 1970’s) in which the revolutionary spirit tends to fight for freedom of bodies and for (homo)sexuality. Copi was one of those rebel authors, anti-system who showed his opposition to the hegemony of the oppressive heteronormed language. Our goal in this study is to understand Copi’s works from trans- strategies and processes, in order to analyse how the concepts of transculturality, transidentity and trans(s)exuality, interlinked to the experience of travel, exile, restless wandering transform into a learning process (perception of reality) that Copi uses as a representative strategy in his literary production and artistic creation. His « monsters » or « queer people », « weirdos », « abnormal » (drag artists, homosexuals, pussies, transsexuals, bisexuals, queers and others, etc.) wander freely around in his subversive imaginary universe to remind us that they once were stigmatized and called « queer », which is according to Judith Butler is a paralyzing insult and pronounced, in Paul B. Preciado’s terms, by « heterosexual subjects ».</dcterms:abstract>
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