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...
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Centro Interdisciplinario de Literatura Hispanoamericana (CILHA)
2021
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/5002 |
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I11-R112article-50022022-03-31T21:54:18Z The performative turn in the theatrical representations of the Malvinas War (1982): Museo Miguel Angel Boezzio (1998), de Federico León El giro performativo en las representaciones teatrales de la Guerra de Malvinas (1982) Museo Miguel Angel Boezzio (1998), de Federico León Dubatti, Ricardo Convivio Memoria Posguerra Convivio Memory Postwar 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. Pese a su brevedad, la Guerra de Malvinas (2 de abril – 14 de junio de 1982) constituye un acontecimiento histórico (Badiou, 2015) que introduce un campo simbólico novedoso vigente aún hoy en los imaginarios sociales y sus apropiaciones (Chartier, 1992, 2007). Esta presencia es nítida en el teatro, como lo evidencia el extenso corpus producido prácticamente desde el comienzo de la posguerra (2020). Dentro de este conjunto, una obra marca un giro performativo: Museo Miguel Angel Boezzio (1998), de Federico León. Inspirado en el Museo Nacional de Aeronáutica, el valor de este espectáculo radica no solo en su potencia escénica sino en que da voz a un ex piloto real que narra en primera persona sus vivencias. A través de su cuerpo, opaco, liminal y autoficcional, Boezzio deviene un campo de batalla que abre el camino para que otros espectáculos exploren Malvinas desde la mirada crítica de la performance. Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) 2021-12-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/xml https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/5002 10.48162/rev.34.028 Cuadernos del CILHA; Núm. 35 (2021): Dosier: El giro performativo: perspectivas sobre el teatro latinoamericano contemporáneo; 1-22 1852-9615 1515-6125 spa https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/5002/4146 https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/5002/4460 Derechos de autor 2021 Ricardo Dubatti https://creativecommons.org/licenses/by-nc/4.0 |
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Dubatti, Ricardo |
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Dubatti, Ricardo El giro performativo en las representaciones teatrales de la Guerra de Malvinas (1982) Museo Miguel Angel Boezzio (1998), de Federico León Convivio Memoria Posguerra Convivio Memory Postwar |
| author_facet |
Dubatti, Ricardo |
| author_sort |
Dubatti, Ricardo |
| title |
El giro performativo en las representaciones teatrales de la Guerra de Malvinas (1982) Museo Miguel Angel Boezzio (1998), de Federico León |
| title_short |
El giro performativo en las representaciones teatrales de la Guerra de Malvinas (1982) Museo Miguel Angel Boezzio (1998), de Federico León |
| title_full |
El giro performativo en las representaciones teatrales de la Guerra de Malvinas (1982) Museo Miguel Angel Boezzio (1998), de Federico León |
| title_fullStr |
El giro performativo en las representaciones teatrales de la Guerra de Malvinas (1982) Museo Miguel Angel Boezzio (1998), de Federico León |
| title_full_unstemmed |
El giro performativo en las representaciones teatrales de la Guerra de Malvinas (1982) Museo Miguel Angel Boezzio (1998), de Federico León |
| title_sort |
performative turn in the theatrical representations of the malvinas war (1982): museo miguel angel boezzio (1998), de federico león |
| description |
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. |
| publisher |
Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) |
| publishDate |
2021 |
| url |
https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/5002 |
| topic |
Convivio Memoria Posguerra Convivio Memory Postwar |
| topic_facet |
Convivio Memoria Posguerra Convivio Memory Postwar |
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