Abstract
ABSTRACT During the 1960s and 1970s, Argentine theater experienced an almost simultaneous interest in the documentary and the political, as well as a experimental hybridization of forms. Later developments led to the autobiographical theater of the 1980s and 1990s and to the biodrama of the 2000s. Mi vida después [My life after] by Lola Arias is a renowned play derived from these traditions. By analyzing the model of acting of this work and study the figure of the actor-document and its contribution to contemporary theater. The actor in this model brings into crisis notions of illusion and mimesis and challenges the limits between fiction and reality by constantly oscillating amidst presence and representation.
Highlights
Introduction and Formulation of the ProblemTo speak about documentary forms on stage we need to hark back to political theatre (Piscator, 1957) as the framework in which most documentary theatre has been inscribed
Denise Cobello – The Actor-Document: traits of a poetics that challenges the limits between presence and representation
When we study the acting procedures used in Mi vida después, we see that the actors do not seek to interpret a character and that, in spite of reading their presence a priori as a representation of themselves, this does not necessarily mean that they build a character of themselves
Summary
The Actor-Document: traits of a poetics that challenges the limits between presence and representation. ABSTRACT – The Actor-Document: traits of a poetics that challenges the limits between presence and representation – During the 1960s and 1970s, Argentine theater experienced an almost simultaneous interest in the documentary and the political, as well as a experimental hybridization of forms. By analyzing the model of acting of this work and study the figure of the actor-document and its contribution to contemporary theater The actor in this model brings into crisis notions of illusion and mimesis and challenges the limits between fiction and reality by constantly oscillating amidst presence and representation. Denise Cobello – The Actor-Document: traits of a poetics that challenges the limits between presence and representation.
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