El giro performativo en las representaciones teatrales de la Guerra de Malvinas (1982) Museo Miguel Angel Boezzio (1998), de Federico León
Despite its brevity, the Malvinas War (April 2 - June 14, 1982) constitutes a historical event (Badiou, 2015) that introduces a new symbolic field still in force today in social imaginaries and their appropriations (Chartier, 1992, 2007). This presence is clear in the theater, as evidenced by the ex...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Online |
| Lenguaje: | spa |
| Publicado: |
Centro Interdisciplinario de Literatura Hispanoamericana (CILHA)
2021
|
| Materias: | |
| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/5002 |
| Sumario: | Despite its brevity, the Malvinas War (April 2 - June 14, 1982) constitutes a historical event (Badiou, 2015) that introduces a new symbolic field still in force today in social imaginaries and their appropriations (Chartier, 1992, 2007). This presence is clear in the theater, as evidenced by the extensive corpus produced practically since the beginning of the postwar period (2020). Within this set, a work marks a performative turn: Museo Miguel Angel Boezzio (1998), by Federico León. Inspired by the National Museum of Aeronautics, the value of this show lies not only in its scenic power but also in that it gives voice to a real former pilot who narrates his experiences in the first person. Through his body, opaque, liminal and self-fictional, Boezzio becomes a battlefield that opens the way for other shows to explore Malvinas from the critical point of view of performance. |
|---|
