: It addresses a "classic crisis" where the literary market prefers "hagiographies" (biographies of saints/idols) over supporting living, breathing experimentalists who still "stain their feet" on the street. O poeta pobre - O Partisano

: Rather than just "saying" poetry, the performance format (MP4/Video) emphasizes the simultaneous focus on physicality and the event , treating the body itself as the text.

: The title is an "adage" used to highlight how poets like Paulo Leminski or Ana Cristina César were only fully embraced by critics and the publishing market after they died.

: The performance often explores the "miserabilist" image of the poet—starving, bohemian, or invisible to society—who only becomes a "genius" once they are safely sepulchered and no longer "insufferable" to their contemporaries.

The performance title (A Good Poet is a Dead Poet) serves as a provocative informative feature that critiques the historical and critical tendency to only "canonize" or value artists after their passing.

In the context of Brazilian and Portuguese performance art, this phrase functions as a "guerrilla linguistic tactic" designed to short-circuit traditional academic discourse through raw physical action. Key Informative Features of the Performance