Summary By opting on certain American feminist theories of the theatre, this study focuses on showing the dangers of traditional realistic mimesis for the creation of a feminist theatre. The aesthetic strategies of the collective coin K my mother, my mother, my mother, my neighbour — such as Vaho- _ boil of the director, work on the construction of women’s bodies, narrative breaks through simultaneous scenes and self-reflection processes — are then analysed and compared with those of other Quebec feminist pieces of the 1970s. This analysis, which makes K my mother a kind of theoretical model, leads to the problem of a female theatre that would be freed from patriarchate constraints.