De máscaras y máquinas miméticas: el performance de la autorepresentación en Lázaro, de Lagartijas Tiradas al Sol
The Mexican theatre group Lagartijas Tiradas al Sol presented their latest production, Lázaro, by means of digital platforms during the year 2020. The play is a work of “self-fiction” in which actor and director Lázaro Gabino Rodríguez narrated the process of personal transformation he underwent whe...
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| Autores principales: | , |
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| Formato: | Online |
| Lenguaje: | spa |
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Centro Interdisciplinario de Literatura Hispanoamericana (CILHA)
2021
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/5098 |
| Sumario: | The Mexican theatre group Lagartijas Tiradas al Sol presented their latest production, Lázaro, by means of digital platforms during the year 2020. The play is a work of “self-fiction” in which actor and director Lázaro Gabino Rodríguez narrated the process of personal transformation he underwent when he decided to change his name and underwent a plastic surgery to alter his face. Lázaro exercises an audio-visual montage, juxtaposing personal archive materials (family pictures, clips of films in which Rodríguez has acted) with the written testimonies of people who are close to the performer and talk about how “Gabino” has ceased to exist in order to become “Lázaro”. With this production, Lagartijas Tiradas al Sol staged a reflection about identity as a masquerade subject to discriminatory social relations in Mexico. Following theorizations posed by F. Guattary and S. Rolnik, we discuss the micropolitical dimensions of Lázaro, the way this play exposes the tensions between a personal process of singularization with the “machinical” production of subjectivity in capitalist societies. We argue that, by staging the face as a performative mask, the play points towards a state of post-identity that interrogates practices of self-representation and the politics of the gaze. |
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