Abstract
Resumen: Se analiza cómo han estado orientados los premios de un festival del Estado - la Fiesta Provincial del Teatro de Tucumán (Argentina) - entre 2002 y 2017, en relación a los grupos etarios y corrientes estéticas reconocidos. En el artículo se muestra que los premios se dirigen fundamentalmente a elencos con directores jóvenes que cultivan una estética posdramática, excluyendo la tradición realista, el humor popular y el teatro de la crueldad. Por último, se evalúan los motivos del Estado para realizar dichas exclusiones, así como los juegos de poder en el ámbito local que implican el reconocimiento de figuras jóvenes y el desdén por las figuras jerárquicas del campo teatral provincial.
Highlights
RÉSUMÉ – L’Orientation Générationnel et Esthétique d’un Prix de l’Etat dirigé au Théâtre Indépendant – L’article analyse l’orientation d’un prix théâtral remis par l’Etat – la Fiesta Provincial del Teatro de Tucumán (Argentina) entre 2002 et 2017 – en relation a l’âge et l’esthétique de groupes reconnus
Pablo Salas Tonello - The Generational and Aesthetic Orientation of a State Award Addressed to Independent Theatre
The purpose of this article is to analyze the role of the State in the practices of artistic recognition within the arena of independent theatre based on the specific case of the Provincial Theatre Festival (Fiesta Provincial del Teatro) in Tucumán, an annual award ceremony held by the National Theatre Institute (Instituto Nacional del Teatro – INT) in Argentina
Summary
Pablo Salas TonelloI IUniversidad Nacional de San Martín, San Martín/Buenos Aires – Argentina. The purpose of this article is to analyze the role of the State in the practices of artistic recognition within the arena of independent theatre based on the specific case of the Provincial Theatre Festival (Fiesta Provincial del Teatro) in Tucumán, an annual award ceremony held by the National Theatre Institute (Instituto Nacional del Teatro – INT) in Argentina. The interest in this case lies in a remarkable paradox: an official award is meant to establish the aesthetical guidelines of a specific activity which is distinguished by its autonomy, unlike other forms, such as the official or the commercial theatre. The present article attempts to prove that public policies effectively affect the definition of value of artistic work, threatening its typical autonomy in its area of competence, which is the legitimacy of aesthetical forms
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