Visibility of violence in contemporary Latin-American theater: El año en que nací, by Lola Arias, La mujer puerca y Mau Mau, o la tercera parte de la noche, by Santiago Loza
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Data de Publicação: | 2016 |
Outros Autores: | |
Tipo de documento: | Artigo |
Idioma: | spa |
Título da fonte: | Caracol (São Paulo. Online) |
Texto Completo: | https://www.revistas.usp.br/caracol/article/view/121415 |
Resumo: | From the three works by two Argentinean authors, we reflect on two aesthetic and political possibilities of contemporary dramaturgies that produce collective and individual memories and traumas. From a dramaturgy of the author, in La mujer puerca (Santiago Loza) the principles that sustain the normative platforms of Latin-American societies are questioned and in Mau Mau, o la tercera parte de la noche (also by Santiago Loza) two women, witnesses of the glamour of the 1960’s, wander around from endless parties joined to the most violent repression and the decadence at the return of democracy. In El año en que nací, by Lola Arias, the performers use personal documents and objects to reconstruct collectively experiences of the Chilean dictatorship (1973-1990). Causing tension between the boundaries of the fictional and the biographical, the dramaturgy articulates the textuality of this youth that asks for a place in the process of reconstruction of a socially jeopardized present. |
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Caracol (São Paulo. Online) |
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Visibility of violence in contemporary Latin-American theater: El año en que nací, by Lola Arias, La mujer puerca y Mau Mau, o la tercera parte de la noche, by Santiago LozaVisibilidad de la violencia en el teatro actual latinoamericano: El año en que nací, de Lola Arias, La mujer puerca y Mau Mau, o la tercera parte de la noche, de Santiago LozateatropolíticareligiónmemoriadictaduratheaterpoliticsreligionmemorydictatorshipFrom the three works by two Argentinean authors, we reflect on two aesthetic and political possibilities of contemporary dramaturgies that produce collective and individual memories and traumas. From a dramaturgy of the author, in La mujer puerca (Santiago Loza) the principles that sustain the normative platforms of Latin-American societies are questioned and in Mau Mau, o la tercera parte de la noche (also by Santiago Loza) two women, witnesses of the glamour of the 1960’s, wander around from endless parties joined to the most violent repression and the decadence at the return of democracy. In El año en que nací, by Lola Arias, the performers use personal documents and objects to reconstruct collectively experiences of the Chilean dictatorship (1973-1990). Causing tension between the boundaries of the fictional and the biographical, the dramaturgy articulates the textuality of this youth that asks for a place in the process of reconstruction of a socially jeopardized present.A partir de tres obras de dos autores argentinos, se reflexiona sobre las posibilidades estéticas y políticas de dramaturgias contemporáneas que elaboran memorias y traumas colectivos e individuales. En El año en que nací, de Lola Arias, los performers, a partir de documentos y objetos personales reconstruyen vivencias de la dictadura chilena (1973-1990). Tensionando los límites entre ficcional y biográfico, esos jóvenes cobran un lugar en ese proceso de reconstrucción de un presente socialmente comprometido. En La mujer puerca, de Santiago Loza, se cuestionan principios religiosos y morales que sustentan plataformas normativas de las sociedades latinoamericanas. Mau Mau, o la tercera parte de la noche, de Santiago Loza, plantea un juego dramático en una boite bonaerense. En ese espacio deambulan dos mujeres testigos del glamour de los 1960, de la fiesta ilimitada combinada a la represión más violenta y de la decadencia con la vuelta a la democracia.Universidade de São Paulo. Faculdade de Filosofia, Letras e Ciências Humanas2016-12-26info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdftext/xmlhttps://www.revistas.usp.br/caracol/article/view/12141510.11606/issn.2317-9651.v0i12p100-123Caracol; Núm. 12: (jul-dic 2016) Dossier: Trauma, memoria y teatro; 100-123Caracol; n. 12: (jul-dez 2016) Dossiê: trauma, memória e teatro; 100-1232317-96512178-1702reponame:Caracol (São Paulo. Online)instname:Universidade de São Paulo (USP)instacron:USPspahttps://www.revistas.usp.br/caracol/article/view/121415/122031https://www.revistas.usp.br/caracol/article/view/121415/185647Copyright (c) 2016 Júlia Morena Costa, Sara Rojohttp://creativecommons.org/licenses/by-nc/4.0info:eu-repo/semantics/openAccessCosta, Júlia MorenaRojo, Sara2020-07-01T03:52:11Zoai:revistas.usp.br:article/121415Revistahttp://www.revistas.usp.br/caracol/indexPUBhttp://www.revistas.usp.br/caracol/oairevista.caracol@usp.br||2317-96512178-1702opendoar:2020-07-01T03:52:11Caracol (São Paulo. Online) - Universidade de São Paulo (USP)false |
dc.title.none.fl_str_mv |
Visibility of violence in contemporary Latin-American theater: El año en que nací, by Lola Arias, La mujer puerca y Mau Mau, o la tercera parte de la noche, by Santiago Loza Visibilidad de la violencia en el teatro actual latinoamericano: El año en que nací, de Lola Arias, La mujer puerca y Mau Mau, o la tercera parte de la noche, de Santiago Loza |
title |
Visibility of violence in contemporary Latin-American theater: El año en que nací, by Lola Arias, La mujer puerca y Mau Mau, o la tercera parte de la noche, by Santiago Loza |
spellingShingle |
Visibility of violence in contemporary Latin-American theater: El año en que nací, by Lola Arias, La mujer puerca y Mau Mau, o la tercera parte de la noche, by Santiago Loza Costa, Júlia Morena teatro política religión memoria dictadura theater politics religion memory dictatorship |
title_short |
Visibility of violence in contemporary Latin-American theater: El año en que nací, by Lola Arias, La mujer puerca y Mau Mau, o la tercera parte de la noche, by Santiago Loza |
title_full |
Visibility of violence in contemporary Latin-American theater: El año en que nací, by Lola Arias, La mujer puerca y Mau Mau, o la tercera parte de la noche, by Santiago Loza |
title_fullStr |
Visibility of violence in contemporary Latin-American theater: El año en que nací, by Lola Arias, La mujer puerca y Mau Mau, o la tercera parte de la noche, by Santiago Loza |
title_full_unstemmed |
Visibility of violence in contemporary Latin-American theater: El año en que nací, by Lola Arias, La mujer puerca y Mau Mau, o la tercera parte de la noche, by Santiago Loza |
title_sort |
Visibility of violence in contemporary Latin-American theater: El año en que nací, by Lola Arias, La mujer puerca y Mau Mau, o la tercera parte de la noche, by Santiago Loza |
author |
Costa, Júlia Morena |
author_facet |
Costa, Júlia Morena Rojo, Sara |
author_role |
author |
author2 |
Rojo, Sara |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Costa, Júlia Morena Rojo, Sara |
dc.subject.por.fl_str_mv |
teatro política religión memoria dictadura theater politics religion memory dictatorship |
topic |
teatro política religión memoria dictadura theater politics religion memory dictatorship |
description |
From the three works by two Argentinean authors, we reflect on two aesthetic and political possibilities of contemporary dramaturgies that produce collective and individual memories and traumas. From a dramaturgy of the author, in La mujer puerca (Santiago Loza) the principles that sustain the normative platforms of Latin-American societies are questioned and in Mau Mau, o la tercera parte de la noche (also by Santiago Loza) two women, witnesses of the glamour of the 1960’s, wander around from endless parties joined to the most violent repression and the decadence at the return of democracy. In El año en que nací, by Lola Arias, the performers use personal documents and objects to reconstruct collectively experiences of the Chilean dictatorship (1973-1990). Causing tension between the boundaries of the fictional and the biographical, the dramaturgy articulates the textuality of this youth that asks for a place in the process of reconstruction of a socially jeopardized present. |
publishDate |
2016 |
dc.date.none.fl_str_mv |
2016-12-26 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://www.revistas.usp.br/caracol/article/view/121415 10.11606/issn.2317-9651.v0i12p100-123 |
url |
https://www.revistas.usp.br/caracol/article/view/121415 |
identifier_str_mv |
10.11606/issn.2317-9651.v0i12p100-123 |
dc.language.iso.fl_str_mv |
spa |
language |
spa |
dc.relation.none.fl_str_mv |
https://www.revistas.usp.br/caracol/article/view/121415/122031 https://www.revistas.usp.br/caracol/article/view/121415/185647 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2016 Júlia Morena Costa, Sara Rojo http://creativecommons.org/licenses/by-nc/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2016 Júlia Morena Costa, Sara Rojo http://creativecommons.org/licenses/by-nc/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf text/xml |
dc.publisher.none.fl_str_mv |
Universidade de São Paulo. Faculdade de Filosofia, Letras e Ciências Humanas |
publisher.none.fl_str_mv |
Universidade de São Paulo. Faculdade de Filosofia, Letras e Ciências Humanas |
dc.source.none.fl_str_mv |
Caracol; Núm. 12: (jul-dic 2016) Dossier: Trauma, memoria y teatro; 100-123 Caracol; n. 12: (jul-dez 2016) Dossiê: trauma, memória e teatro; 100-123 2317-9651 2178-1702 reponame:Caracol (São Paulo. Online) instname:Universidade de São Paulo (USP) instacron:USP |
instname_str |
Universidade de São Paulo (USP) |
instacron_str |
USP |
institution |
USP |
reponame_str |
Caracol (São Paulo. Online) |
collection |
Caracol (São Paulo. Online) |
repository.name.fl_str_mv |
Caracol (São Paulo. Online) - Universidade de São Paulo (USP) |
repository.mail.fl_str_mv |
revista.caracol@usp.br|| |
_version_ |
1797231605718188033 |