“We Are United, Not by Love, but by Fright": Re-mapping the Argentine Theater Scene During the Last Dictatorship

The following article reflects on shared elements among diverse experiences in the Argentine theater scene during the last civic-military dictatorship through two lenses: an aesthetic lens and a sociological lens. With the latter, we advance an expanded cartography of scenic practices that took plac...

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Autor principal: Verzero, Lorena
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba. 2021
Materias:
Mapping
Dictatorship
Performing Arts
Metaphor
Mapeo
Dictadura
Artes escénicas
Metáfora
Acceso en línea:https://revistas.unc.edu.ar/index.php/ART/article/view/34560
Aporte de:
Artilugio de Universidad Nacional de Córdoba
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record_format ojs
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-361
container_title_str Artilugio
language Español
format Artículo revista
topic Mapping
Dictatorship
Performing Arts
Metaphor
Mapeo
Dictadura
Artes escénicas
Metáfora
spellingShingle Mapping
Dictatorship
Performing Arts
Metaphor
Mapeo
Dictadura
Artes escénicas
Metáfora
Verzero, Lorena
“We Are United, Not by Love, but by Fright": Re-mapping the Argentine Theater Scene During the Last Dictatorship
topic_facet Mapping
Dictatorship
Performing Arts
Metaphor
Mapeo
Dictadura
Artes escénicas
Metáfora
author Verzero, Lorena
author_facet Verzero, Lorena
author_sort Verzero, Lorena
title “We Are United, Not by Love, but by Fright": Re-mapping the Argentine Theater Scene During the Last Dictatorship
title_short “We Are United, Not by Love, but by Fright": Re-mapping the Argentine Theater Scene During the Last Dictatorship
title_full “We Are United, Not by Love, but by Fright": Re-mapping the Argentine Theater Scene During the Last Dictatorship
title_fullStr “We Are United, Not by Love, but by Fright": Re-mapping the Argentine Theater Scene During the Last Dictatorship
title_full_unstemmed “We Are United, Not by Love, but by Fright": Re-mapping the Argentine Theater Scene During the Last Dictatorship
title_sort “we are united, not by love, but by fright": re-mapping the argentine theater scene during the last dictatorship
description The following article reflects on shared elements among diverse experiences in the Argentine theater scene during the last civic-military dictatorship through two lenses: an aesthetic lens and a sociological lens. With the latter, we advance an expanded cartography of scenic practices that took place in the city of Buenos Aires, as well as a conceptualization of “mapping,” a review of the theater histories that have legitimized a particular canon, and a handmade cartography that includes all the experiences. This new map includes varied experiences, confirming the hypothesis that—contrary to canonical sense— the practices of intervention, resistance, activist, and/or clandestine practices mostly took place in the same areas of the city as the theater that occupied the center of the field. Our second hypothesis concerns aesthetics and argues that metaphor is, perhaps, the most frequently shared resource among these counter-establishment practices. In theater, the use of metaphor has long been studied as a mode of indirect resistance during several twentieth-century dictatorships, but it is often thought that activism, unlike theater, resorts to more direct language. Questioning this assumption, we propose the hypothesis that the central theater in the field and activist interventions share the use of metaphor as a privileged aesthetic resource to avoid censorship and persecution.
publisher Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba.
publishDate 2021
url https://revistas.unc.edu.ar/index.php/ART/article/view/34560
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first_indexed 2024-09-03T22:28:14Z
last_indexed 2024-09-03T22:28:14Z
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spelling I10-R361-article-345602023-03-04T00:21:06Z “We Are United, Not by Love, but by Fright": Re-mapping the Argentine Theater Scene During the Last Dictatorship “No nos une el amor sino el espanto”: Re-mapear la escena teatral de la última dictadura argentina Verzero, Lorena Mapping Dictatorship Performing Arts Metaphor Mapeo Dictadura Artes escénicas Metáfora The following article reflects on shared elements among diverse experiences in the Argentine theater scene during the last civic-military dictatorship through two lenses: an aesthetic lens and a sociological lens. With the latter, we advance an expanded cartography of scenic practices that took place in the city of Buenos Aires, as well as a conceptualization of “mapping,” a review of the theater histories that have legitimized a particular canon, and a handmade cartography that includes all the experiences. This new map includes varied experiences, confirming the hypothesis that—contrary to canonical sense— the practices of intervention, resistance, activist, and/or clandestine practices mostly took place in the same areas of the city as the theater that occupied the center of the field. Our second hypothesis concerns aesthetics and argues that metaphor is, perhaps, the most frequently shared resource among these counter-establishment practices. In theater, the use of metaphor has long been studied as a mode of indirect resistance during several twentieth-century dictatorships, but it is often thought that activism, unlike theater, resorts to more direct language. Questioning this assumption, we propose the hypothesis that the central theater in the field and activist interventions share the use of metaphor as a privileged aesthetic resource to avoid censorship and persecution. El artículo propone reflexionar en torno a los elementos compartidos por experiencias diversas de la escena teatral durante la última dictadura cívico-militar argentina, desde una doble aproximación: estética y sociológica. En este último sentido, avanzamos sobre la construcción de una cartografía expandida de las prácticas escénicas desarrolladas en la ciudad de Buenos Aires, incorporando una conceptualización de la noción de mapeo, una revisión de las historias del teatro que han legitimado el canon y una efectivización artesanal de una cartografía que incluye variadas experiencias; de esta manera, se confirma la hipótesis de que —contra el sentido común— las prácticas de intervención, de resistencia, activistas o clandestinas, se dieron mayormente en las mismas zonas de la ciudad en las que se encontraba el teatro que ocupaba el centro del campo. La segunda hipótesis atañe a la estética y sostiene que la metáfora constituye, tal vez, el recurso más compartido por estas prácticas. El trabajo metafórico durante las dictaduras ha sido ampliamente estudiado en el caso del teatro de sala, pero se suele pensar que el activismo recurre a lenguajes más directos. Poniendo ese supuesto en cuestión, proponemos la hipótesis de que el teatro central en el campo y las intervenciones de resistencia comparten el uso de la metáfora casi como recurso estético privilegiado para evitar la censura y la persecución. Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba. 2021-09-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Double-blind peer-reviewed article Artículo revisado por sistema de pares doble ciego application/pdf text/html application/epub+zip https://revistas.unc.edu.ar/index.php/ART/article/view/34560 10.55443/artilugio.n7.2021.34560 ark:/s2408462x/za4t0xx6b Artilugio; No. 7 (2021): Cartographies, Memories and Territories; 335-353 Artilugio; Núm. 7 (2021): Cartografías, memorias y territorios; 335-353 Artilugio; n. 7 (2021): Cartografías, memorias y territorios; 335-353 2408-462X 10.55443/artilugio.n7.2021 ark:/s2408462x/rkwmwvcrg spa https://revistas.unc.edu.ar/index.php/ART/article/view/34560/35053 https://revistas.unc.edu.ar/index.php/ART/article/view/34560/35054 https://revistas.unc.edu.ar/index.php/ART/article/view/34560/35055 Derechos de autor 2021 Lorena Verzero https://creativecommons.org/licenses/by-nc-sa/4.0

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