Este trabalho versa sobre a organização, análise e historicização da memória das Mal-Amadas através dos experimentos cênicos antipatriarcais praticados ao longo de vinte e seis anos. Esse grupo de teatro feminista foi criado para responder com arte ao sofrimento e à dor de mulheres em atendimento na Casa Beth Lobo, uma política pública de apoio à mulher em situação de violência doméstica. O estudo atende a uma perspectiva feminista e de gênero com olhar especial para o feminismo radical e os seus pressupostos, partindo de uma reflexão sobre a natureza e a origem da opressão das mulheres. Está organizado com Introdução, Memória, Poética do Desmonte I (1992-1999) - período que diz respeito à relação institucional com a Prefeitura de Diadema - e Poética do Desmonte II (2012-2018) - quando estabelece uma parceria com o CIM - Centro Informação Mulher, organização feminista do movimento de mulheres. Nesta pesquisa foram relatados desde o funcionamento do grupo à nomeação dos procedimentos que deram origem às criações de peças teatrais, peça-jogo, performance, desagravos, apartes, instalações e interpelações, indicando as etapas do processo, bem como apontando as práticas de repertório e arquivais, uma concepção de Diana Taylor (Estudos da Performance). O épico-performativo é um modo híbrido que orienta a produção das Mal-Amadas desde a sua origem. O intuito deste estudo, portanto, é confirmar a validade da Poética do Desmonte, teatralidade das Mal-Amadas na construção de um Teatro Feminista de viés libertário em defesa da vida das mulheres. / This work deals with the organization, analysis, and historicization of the Mal-Amadas memory through the scenic antipatriarchal experiments practiced during twenty-six years. This feminist theater group was created to respond with art to the suffering and pain of women in attendance at Casa Beth Lobo, a public policy to support women in situations of domestic violence. The study responds to a feminist and gender perspective with a special look at radical feminism and its presuppositions, starting from a reflection on the nature and origin of women\'s oppression. It was organized from an Introduction, Memory, \"Poetics of Desmonte I\" (from 1992 to 1999), which relates to the institutional relationship with the City Hall of Diadema and \"Poética do Desmonte II\" (from 2012 to 2018), when it establishes a partnership with the CIM - Women Information Center, a feminist organization of the women\'s movement. In this study, it was reported from the group \'s operation to the naming of the procedures that gave origin to the creations of theatrical pieces, play - game, performance, reparations,dramatic speeches, installations and interpellations, indicating the stages of the process, as well as pointing out the \"repertoire practices and archival\", a conception of Diana Taylor (Performance Studies). The epic - performative is a hybrid mode, which guides the production of \"mal-amadas\" from its origin. The purpose of this study, therefore, is to contextualize, justify, to confirm the validity of the Poetics of Dismantling, the theatricality of the \"mal -amadas\' in the construction of a Feminist libertarian theater in defense of women\'s lives.

Il semble y avoir depuis quelques années une considérable augmentation de l’utilisation du terme féminicide pour désigner les meurtres de femmes par un partenaire intime dans les journaux. Nous cherchons à établir dans la présente étude si cette nouvelle popularité apparente du terme ne constitue qu’une simple mode lexicale ou si elle s’accompagne aussi d’un changement plus profond dans le discours des médias et leur cadrage des nouvelles de meurtres de femmes par leur conjoint au Québec. Pour ce faire, nous analysons le cadrage des nouvelles de féminicides intimes dans la presse québécoise à partir d’un corpus de 71 articles parus entre 2019 et 2021 dans trois quotidiens montréalais, soit La Presse, Le Devoir et Le Journal de Montréal. Il s’agit d’identifier dans les articles les différents éléments contribuant à orienter l’interprétation de la nouvelle en fonction des trois principales composantes du cadrage médiatique définies par les études antérieures faites sur le sujet : le contexte présenté, le langage utilisé et les sources citées. À la lumière de nos résultats, il apparaît absolument indéniable que l’augmentation fulgurante de l’utilisation de féminicide pour désigner les meurtres de femmes par leur partenaire ou ex-partenaire ne constitue pas qu’une tendance linguistique isolée, mais s’inscrit plutôt dans une réelle transformation généralisée de la place et de l’importance accordée aux féminicides intimes dans les médias québécois entre 2019 et 2021. / There appears to be a recent increase in the use of the word feminicide by the press to refer to the murder of women by male intimate partners. We attempted with this present study to establish if this apparent popularity of the term is only a new lexical trend or if it is also accompanied by a more widespread and profound change in the media discourse and their framing of such news. To do so, we analysed the framing of intimate partner femicide news in the Quebec press in 71 articles published between 2019 and 2021 in three Montreal daily newspapers, La Presse, Le Devoir and Le Journal de Montréal. We identified in these articles different elements that contribute to shape the interpretation of the event based on the three main components of news framing according to previous research: the context of the murder, the language used and the sources cited. Our results show without a doubt that the considerable increase in the use of feminicide to refer to the murder of women by male intimate partners is not simply a new linguistic trend but is rather part of a wider and deeper transformation of the place and importance given to intimate partner femicides in the Quebec press between 2019 and 2021.