(Pos)dictadura: estrategias contestatarias y disidentes en la dramaturgia de Susana Torres Molina
Considering the political nature of theater and the performative action in the theatrical space, this essay analyzes Argentinian dramatist Susana Torres Molina's trilogy Esa extraña forma de pasión (2013), La fundación (2019), and Un domingo en familia. The objective of this analysis is to obse...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Online |
| Lenguaje: | spa |
| Publicado: |
Centro Interdisciplinario de Literatura Hispanoamericana (CILHA)
2021
|
| Materias: | |
| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/4936 |
| Sumario: | Considering the political nature of theater and the performative action in the theatrical space, this essay analyzes Argentinian dramatist Susana Torres Molina's trilogy Esa extraña forma de pasión (2013), La fundación (2019), and Un domingo en familia. The objective of this analysis is to observe the textual and performative practice of theater as a space for creation, negotiation, and encounter to display the effects of systematized violence against social and marginalized sectors of political opposition, taking into account a neoliberal culture, as well as necropolitical and religious models. Although it has been almost forty years since the return of democracy in Argentina, the social trauma, beyond being identified by the event that caused it, persists in the structure of its experience, reception, consumption, and progressive repetition in the present. In the last decade, Torres Molina has reconstructed and redefined the Argentine dictatorial past through her theater, which invites us to reflect on the relevance of the painful but necessary retroactive looks and their effects in the XXI century. |
|---|
