Abstract
According to Lorenz (2013), the Memory, Truth and Justice policies implemented in Argentina between 2003 and 2015 offered new possibilities to revise “Malvinas” and question its meanings. How does this political scenario of “Malvinizacion” appear on independent theaters’ stages in Buenos Aires? How do dramatic texts translate, reflect, subvert, narrate and elaborate the memories of the Malvinas War and its dilemmas? This paper analyzes Mariana Mazover’s Piedras dentro de la Piedra, presented on March 30th, 2012, three days before the 30th anniversary of the beginning of the war, in La Carpinteria Theater in Buenos Aires. We examine how this play recovers the intervention of women in the war, and in which way it explores the possibility theater shares with literary fiction of undermining key notions that symbolically support the war: national identity, motherland, and honor.
Highlights
According to Lorenz (2013), the Memory, Truth and Justice policies implemented in Argentina between 2003 and 2015 offered new possibilities to revise “Malvinas” and question its meanings
How does this political scenario of “Malvinización” appear on independent theaters’ stages in Buenos Aires? How do dramatic texts translate, reflect, subvert, narrate and elaborate the memories of the Malvinas War and its dilemmas? This paper analyzes Mariana Mazover’s Piedras dentro de la Piedra, presented on March 30th, 2012, three days before the 30th anniversary of the beginning of the war, in La Carpintería Theater in Buenos Aires. We examine how this play recovers the intervention of women in the war, and in which way it explores the possibility theater shares with literary fiction of undermining key notions that symbolically support the war: national identity, motherland, and honor
Si al decir de Federico Lorenz (2013) las políticas públicas de Memoria, Verdad y Justicia de los años 2003-2015 delinearon un marco memorial con nuevas posibilidades para revisar “Malvinas”; si recrearon un territorio donde volver a disputar sentidos de la guerra de 1982, ¿cómo aparece este
Summary
Si al decir de Lorenz (2013) las políticas de Memoria, Verdad y Justicia de los años 2003-2015 delinearon un marco memorial con nuevas posibilidades para revisar “Malvinas”, ¿cómo aparece este escenario político de “malvinización” en el escenario teatral independiente de Buenos Aires? ¿Cómo se capta y se traduce; se espeja y se subvierte; se narran y se elaboran las memorias de Malvinas y sus dilemas en los textos dramáticos producidos alrededor del 30 aniversario de la guerra? A partir del análisis de Piedras dentro de la Piedra de Mariana Mazover, presentada el 30 de marzo de 2012 en el Teatro La Carpintería de Buenos Aires, el artículo analiza el modo en que esta dramaturgia recupera la intervención de las mujeres en la guerra de 1982; y elabora sobre la libertad que el teatro comparte con la ficción literaria para socavar nociones fundamentales que sostienen la guerra: identidad nacional, patria, honor. This paper analyzes Mariana Mazover’s Piedras dentro de la Piedra, presented on March 30th, 2012, three days before the 30th anniversary of the beginning of the war, in La Carpintería Theater in Buenos Aires.
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