Café Concert: Teatro de lo no tolerable
The article presents as an object of approach the theatrical show Café Concert, LGBTIQ+ staging of Rapsodia, the first “homosexual” nightclub in San Juan, Argentina. Space inaugurated in 1995 and which constituted an emergency territory for the "new" sexualities made invisible at that time...
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| Autores principales: | , |
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| Formato: | Online |
| Lenguaje: | spa |
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Maestría en Estudios Latinoamericanos, Facultad de Ciencias Políticas y Sociales, Universidad Nacional de Cuyo
2023
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/mel/article/view/6743 |
| Sumario: | The article presents as an object of approach the theatrical show Café Concert, LGBTIQ+ staging of Rapsodia, the first “homosexual” nightclub in San Juan, Argentina. Space inaugurated in 1995 and which constituted an emergency territory for the "new" sexualities made invisible at that time.
The analysis carried out and that we present here was one of the first approximations to a scarcely worked field in the province of San Juan, for which its registration was given through a dense description, of an exploratory nature, with a theoretical approach that brought us closer to tools concepts of theater studies to readings of the “theater of the oppressed” and of sociological theory to studies on “sexual diversity”.
As a context of struggle led by Dany Love, Rapsodia as its Café Concert constituted a channel of expression and resistance for the San Juan LGBTIQ+ community, which allowed us to analyze processes of sexual identification from a collective perspective, experiences that deliberately transcended the private imprint and they gained instrumental value in the dispute over the public scene as a cultural artifact.
Therefore, the structure of the article that we present here has three axes of analysis. The first, Rhapsody, space and territory of habitation of resistances since the 90s. The second, the story of Dany Love, the greatest artistic reference of the Café Concert and of the processes involved in sexual identifications. The third and last, the Café Concert and its history, as a theatrical product and a space for making collective resistance visible. |
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