The following work aims to analyze, using as basis the concept of diaspora of black
people's performative body, by Zélia do Amador de Deus, the actress and director's
artistic path and her poetic-politic character. The research was divided, aiming to make
it possible to analyze its three main characters: Catirina, character from the work
Coronel de Macambira, by Joaquim Cardozo (1998); Suely, character from the play
Quarto de Empregada, by Roberto Freire (1993); and a nameless character, presented
in the work Theastai Theatron. The reflexion that leads the research is done based in
feminism as perspective of critical and theoretical analysis for the categories of
stratum, genre, ethnicity, as stabilised theoretically by the philosopher Angela Davis
(2016) and the battle against epistemicide, line of thinking relocated by the philosopher
Sueli Carneiro (2005). By tracing Zélia Amador de Deus' artistic path, it is possible to
find a new way to perceive the diaspora of black people's performative body and their
descendants by the performative bias that represents the political-socio-cultural
crossings that still continue to differentiate this body. Considering that it is a subject
that begins in the body and does not detach itself from it, the analysis departs from the
body and its main three characters, in order to demonstrate not only the artistic
evolution of the actress, but mainly the political and existential development of a black
woman in Amazon.
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