Rhapsody and Epistolary Writing in Eu de Você

Abstract

This article investigates the shifts that occur when epistolary writing is transposed into theatrical space, focusing on the performance Eu de Você (2019) and, in particular on Clarice’s letter, whose narrative is incorporated into the stage composition. The study aims to examine to what extent the passage from the intimate letter to the public stage preserves, reorganizes, or displaces the subjective density of feminine testimony. To this end, it combines dramaturgical analysis with theoretical reflection based on the notions of author-rapsode (Sarrazac), fragment (Calabrese and Tavares), theatricality of the letter (Haroche-Bouzinac), dialogism (Bakhtin), and performance (Schechner). The analysis demonstrates that the stage does not dissolve the singularity of epistolary writing, but rather reconfigures it through fragmentary and polyphonic procedures that expand its ethical and political dimensions. It concludes that the transposition of the letter to the stage does not eliminate its intimacy; instead, it transforms it into a shared experience, generating a public circulation of feminine memory and configuring theatre as an ethical space of listening and recognition.