Women’s encounter: the prostitute and the actress
I met with Coraly Zahonero, actress, member of the Comédie Française, on a rainy autumn day in Paris. Coraly wrote, directed and performed in 2016 a show about Grisélidis Réal. Due to the warm rain, which didn't make us want to go outside, we stayed talking for more than two hours in his 20 squ...
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| Formato: | Online |
| Lenguaje: | portugués |
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Universidade Estadual de Campinas
2025
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| Acceso en línea: | https://econtents.sbu.unicamp.br/inpec/index.php/proa/article/view/20109 |
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| _version_ | 1864369505586642944 |
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| author | Costa, Tânia da Costa, Tânia da Costa, Tânia da |
| author_facet | Costa, Tânia da Costa, Tânia da Costa, Tânia da |
| author_sort | Costa, Tânia da |
| collection | Portal da Incubadora de Periódicos Científicos, Acadêmicos e Educacionais |
| container_reference | PROA: Revista de Antropologia e Arte; Vol. 15 (2025): Publicação Contínua; e025003 |
| description | I met with Coraly Zahonero, actress, member of the Comédie Française, on a rainy autumn day in Paris. Coraly wrote, directed and performed in 2016 a show about Grisélidis Réal. Due to the warm rain, which didn't make us want to go outside, we stayed talking for more than two hours in his 20 square meter dressing room, furnished with charm and equipped with practically everything: a bed, two sofas, table, dressing table, and tea and coffee service. The actors of the Comédie française spend their days in their dressing rooms working on their characters and resting between rehearsals. At night they perform in one of the institution's three theaters, and Coraly's dressing room is at the main headquarters, the Salle Richelieu, founded in 1680 in the heart of the Palais-Royal, in the 1st arrondissement of Paris. The long conversation now costs me double work to listen to and edit the interview amidst our also long parentheses and digressions: we have been friends for over 30 years, she is my daughter's godmother and I am her godmother. I participated closely in the process of creating the show about Grisélidis Réal, whose poster I could see above his head, on the central wall of the dressing room. Coraly could actually be confused with Grisélidis, which is difficult to know at first, such is the physical resemblance and her admirable work of composition: the black eyes outlined in a Barbara style, her long hair, the bangs, the huge earrings.
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| first_indexed | 2025-10-08T14:31:44Z |
| format | Online |
| id | ojs-article-20109 |
| institution | Universidade Estadual de Campinas |
| issn | 2175-6015 |
| language | por |
| last_indexed | 2026-02-19T21:00:54Z |
| publishDate | 2025 |
| publisher | Universidade Estadual de Campinas |
| record_format | ojs |
| spelling | ojs-article-201092026-02-19T14:52:09Z Women’s encounter: the prostitute and the actress Encuentro de mujeres: la prostituta y la actriz Encontro de mulheres: a prostituta e a atriz Costa, Tânia da Costa, Tânia da Costa, Tânia da Prostituição Grisélidis Réal Trabalho sexual Poesia Ativismo Prostitution Grisélidis Réal Sex work Poetry Activism Prostitución Grisélidis Réal Trabajo sexual Poesía Activismo I met with Coraly Zahonero, actress, member of the Comédie Française, on a rainy autumn day in Paris. Coraly wrote, directed and performed in 2016 a show about Grisélidis Réal. Due to the warm rain, which didn't make us want to go outside, we stayed talking for more than two hours in his 20 square meter dressing room, furnished with charm and equipped with practically everything: a bed, two sofas, table, dressing table, and tea and coffee service. The actors of the Comédie française spend their days in their dressing rooms working on their characters and resting between rehearsals. At night they perform in one of the institution's three theaters, and Coraly's dressing room is at the main headquarters, the Salle Richelieu, founded in 1680 in the heart of the Palais-Royal, in the 1st arrondissement of Paris. The long conversation now costs me double work to listen to and edit the interview amidst our also long parentheses and digressions: we have been friends for over 30 years, she is my daughter's godmother and I am her godmother. I participated closely in the process of creating the show about Grisélidis Réal, whose poster I could see above his head, on the central wall of the dressing room. Coraly could actually be confused with Grisélidis, which is difficult to know at first, such is the physical resemblance and her admirable work of composition: the black eyes outlined in a Barbara style, her long hair, the bangs, the huge earrings. Me reuní con Coraly Zahonero, actriz, miembro de la Comédie Française, un lluvioso día de otoño en París. Coraly escribió, dirigió y representó en 2016 un espectáculo sobre Grisélidis Réal. Debido a la cálida lluvia, que no nos dio ganas de salir a la calle, nos quedamos hablando más de dos horas en su vestidor de 20 metros cuadrados, amueblado con encanto y equipado con prácticamente de todo: una cama, dos sofás, mesa, tocador y servicio de té y café. Los actores de la Comédie française pasan los días en sus camerinos trabajando en sus personajes y descansando entre ensayos. Por la noche actúan en uno de los tres teatros de la institución, y el camerino de Coraly está en la sede principal, la Salle Richelieu, fundada en 1680 en el corazón del Palacio Real, en el primer distrito de París. La larga conversación me cuesta ahora el doble de trabajo escuchar y editar la entrevista entre nuestros también largos paréntesis y digresiones: somos amigas desde hace más de 30 años, ella es la madrina de mi hija y yo soy su madrina. Participé estrechamente en el proceso de creación del espectáculo sobre Grisélidis Réal, cuyo cartel pude ver encima de su cabeza, en la pared central del camerino. Coraly incluso podría confundirse con Grisélidis, lo cual es difícil saber en un principio, tal es el parecido físico y su admirable trabajo de composición: los ojos negros delineados al estilo Bárbara, su largo cabello, el flequillo, los enormes aretes. Encontrei-me com Coraly Zahonero, atriz, societária da Comédie Française, num dia chuvoso do outono de Paris. Coraly escreveu, dirigiu e interpretou em 2016 um espetáculo sobre a Grisélidis Réal. Por conta da chuva aconchegante, que não nos dava vontade de sair à rua, ficamos conversando por mais de duas horas em seu camarim de 20 metros quadrados, mobiliado com charme e provido de praticamente tudo: uma cama, dois sofás, mesa, penteadeira, e serviço de chá e café. Os atores da Comédie française passam os dias em seus camarins trabalhando em seus personagens e descansando entre os ensaios. À noite interpretam em um dos três teatros da instituição, e o camarim de Coraly fica na sede principal, a Salle Richelieu, fundada em 1680 no coração do Palais-Royal, no 1º arrondissement de Paris. A longa conversa me vale agora um trabalho dobrado para ouvir e editar a entrevista em meio aos nossos também longos parênteses e digressões: somos amigas há mais de 30 anos, ela é madrinha de minha filha e eu madrinha da dela. Participei de perto do processo de criação do espetáculo sobre Grisélidis Réal, cujo cartaz podia observar acima de sua cabeça, na parede central do camarim. Coraly ali poderia ser mesmo confundida com Grisélidis, difícil saber num primeiro momento, tamanha a semelhança física e seu admirável trabalho de composição: os olhos negros delineados à la Barbara, seu cabelos longos, a franja, os brincos enormes. Universidade Estadual de Campinas 2025-04-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Text Texto Avaliado pelos pares Texto application/pdf https://econtents.sbu.unicamp.br/inpec/index.php/proa/article/view/20109 10.20396/proa.v15i00.20109 PROA: Revista de Antropologia e Arte; Vol. 15 (2025): Publicação Contínua; e025003 PROA: Revista de Antropologia e Arte; Vol. 15 (2025): Publicação Contínua; e025003 Proa: Revista de Antropologia e Arte; v. 15 (2025): Publicação Contínua; e025003 2175-6015 por https://econtents.sbu.unicamp.br/inpec/index.php/proa/article/view/20109/14745 Paris; 2024 Paris; 2024 Paris; 2024 Copyright (c) 2025 Tânia da Costa https://creativecommons.org/licenses/by/4.0 |
| spellingShingle | Costa, Tânia da Costa, Tânia da Costa, Tânia da Prostituição Grisélidis Réal Trabalho sexual Poesia Ativismo Prostitution Grisélidis Réal Sex work Poetry Activism Prostitución Grisélidis Réal Trabajo sexual Poesía Activismo Women’s encounter: the prostitute and the actress |
| title | Women’s encounter: the prostitute and the actress |
| title_full | Women’s encounter: the prostitute and the actress |
| title_fullStr | Women’s encounter: the prostitute and the actress |
| title_full_unstemmed | Women’s encounter: the prostitute and the actress |
| title_short | Women’s encounter: the prostitute and the actress |
| title_sort | women’s encounter: the prostitute and the actress |
| topic | Prostituição Grisélidis Réal Trabalho sexual Poesia Ativismo Prostitution Grisélidis Réal Sex work Poetry Activism Prostitución Grisélidis Réal Trabajo sexual Poesía Activismo |
| url | https://econtents.sbu.unicamp.br/inpec/index.php/proa/article/view/20109 |
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