Apuntes de Teatro

Índice

2023-12-28T15:40:17-03:00

No presenta resumen.

Presente/Ausente

2023-12-28T13:22:35-03:00

No presenta resumen.

Carátulas - Memorias - Exilios

2023-12-28T13:26:46-03:00

No presenta resumen.

50x50. La obra interrumpida (1973-2023): recreaciones de la memoria incorporada

2023-12-28T13:30:11-03:00

No presenta resumen.

La Victoria, a 50 años del golpe de Estado: Teatro Síntoma y la memoria colectiva

2023-12-28T13:34:10-03:00

No presente resumen.

Villa y el futuro

2023-12-28T13:40:36-03:00

No presenta resumen.

Nosotros no conmemoramos

2023-12-28T14:46:46-03:00

No presenta resumen.

Theatre Questions History

2023-09-14T08:27:59-03:00

This article seeks to contribute to the construction of the field of theatrical historical research in Chile, making visible the limits of the historiography developed within the framework of modernity, where the “predominant models are linear, developmental —in general— and, often, progressive” (Postlewait 160). Bringing together elements of the discussion of Anglophone historiography and recent Chilean case studies, I will address issues related to the treatment of a significant amount of data and how its visualization opens new questions to the problems of the linear and continuous historical narrative, and to the nature of the historical object in theatre. For this purpose, I will use the results of the research “Socio-political history of Chile through the imaginary theatre of Rodrigo Pérez”.

Vulnerability and Uncertainty: The Staging of the Detainees-Disappeared in Antonio, Nosé, Isidro, Domingo by Mauricio Pesutić

2023-07-24T11:30:32-04:00

Antonio, Nosé, Isidro, Domingo (1984), by Mauricio Pesutić, portrays the detainees-disappeared experience by the Augusto Pinochet’s dictatorial regime (1973-1990) without explicitly refer- encing the topic. This work explores the use of a series of techniques such as allusions, ritual, body movements, stage design, among others, to experiment with new stage languages that go beyond oral communication to represent the uncertainty of the characters. Likewise, I argue that Pesutić emphasizes the vulnerability of the men onstage through their relationship with the space and their current circumstances to connect them with the experience of the political detainees-disappeared of the context.

2010-2015: The Dispute for the Social Imaginary of Violence in Two Generations of Chilean Playwrights

2023-07-17T11:12:39-04:00

This article exposes the existence of two new generations and dramaturgical-theatrical sensi- bilities, which converge at a unique moment for Chilean theatre (2010-2015), when they hold a public discussion about the stages regarding the imaginary of violence established by the dictatorship. From the concept of social imaginary proposed by Castoriadis and the notion of violence, assumed as keys of textual interpretation, a review of some of the works of the period is made, establishing continuities and generational differences. New narratives and violence are identified which these generations reveal and integrate into the symbolic representational dispute, opening an important question about the present that not only continues to develop, but has become increasingly urgent.

An Involuntary Prophesy

2023-08-07T12:28:37-04:00

This essay proposes a thesis: Theatre that works with testimonies could be prophetic not because it offers prophecies but because it builds the conditions for listening to the fractured statements of those who have been erased from history and language. In this sense, the theatre that works with testimonies builds, for the future, conditions to understand the word of the other—another who has suffered violence. To demonstrate this statement, Animales invisibles (Invisible Ani- mals), by La Laura Palmer, is analysed; this is a montage articulated from the testimonies of the workers who perform technical trades in the Chilean National Theatre. Grey areas that bring forward the montage of these discourses are identified, and, lastly, it is concluded that this piece anticipates the discourse of the failure of the Left and reveals the conditions that allow the emergence of a new extreme Right.

TO THE BEAT OF MEMORIE

2023-08-10T07:30:26-04:00

This article constitutes an analytical proposal to approach the performative intervention of the group Los Diablos Rojos de Víctor Jara for the purpose of rethinking the possibilities of a political art in times of extreme commodification and depoliticization of historical figures. The text will address the hidden signals of the phenomenon that occurs with its uprising in the streets of Santiago once a year in commemoration of the murder of Chilean singer-songwriter, based on the concepts of synchronic and diachronic memory, and resistance. Therefore, we will revisit the traumatic wound contained in his image, the tradition of the inverted processions of the West and, finally, the hybridization of both memories that make up a practice of resistance emancipated from traditional lines.

Theatre Ensemble of the Union of Laboratorio Chile (TESILACH):

2023-06-05T12:38:30-04:00

The aim of this article is to explore the trajectory of the Theatre Ensemble of the Union of Labo- ratorio Chile (TESILACH), an artistic group that emerged during the 1960s in Chile. Through an approach based on oral history and sociology of art, the study analyses the conditions of artistic work in TESILACH, as well as the resources available and the positions taken by the ensemble in the theatrical scene of the time. The results allow for a problematization of the configuration of amateur theatre and its relationship with institutions, promoting new questions and perspectives to continue filling the gaps in the history of amateur theatre in Chile.

Theatre Occupies the Streets

2023-08-07T14:45:14-04:00

The space granted within the national theatre historiography to street theatre during Chile’s civic-military dictatorship is relatively limited. In addition to the inherently temporality of theatre, the urgency of its representation and the absence of theatrical venues further complicate the documentation of theatre history. Consequently, in order to construct a potential cartography of those memories, it is necessary to go back to the records and testimonies of street performan- ces between 1980 and 1990 in Chile and gain insight into the specific strategies employed in theatrical performances so to understanding the underlying motivations behind their creation.

Concentrationary Theatre in Chile: Towards a Political Aesthetics

2023-07-26T22:04:32-04:00

A significant (and scarcely documented) part of the history of Chilean theatre during the dic- tatorship has been the concentrationary theatre movement that took place during 1973 and 1976 in seven concentration camps across the country. This paper takes up on establishing this notion for Chilean artistic and political history, putting it back into context in a comparative perspective and drawing up the singularity of its appearance and developments in Chile. We will then advocate for a political aesthetics when studying those theatres, given that they seem to represent a moment of radical political outburst that redefines the political community and its organization as a whole, generating fundamental dissensus (Rancière) from inside the very key institution of the dictatorial social system.

El Teatro Aleph Chile 1966-1976

2023-12-28T14:49:49-03:00

No presente resumen.

Reseña curricular de autores

2023-12-28T15:24:05-03:00

No presenta resumen.

Cuerpo presente

2023-12-28T12:17:19-03:00

No presenta resumen.

Editorial

2023-12-28T13:42:43-03:00

No presenta resumen.

Entre actuar y performar. Perspectivas desde el cuerpo en el teatro chileno post dictadura

2023-12-28T14:52:29-03:00

No presenta resumen.

Escenas políticas. Teatro entre revueltas 2006-2019

2023-12-28T14:55:30-03:00

No presenta resumen.