Usos productivos de la escena oficial. Una mirada sobre las gestiones del Teatro Nacional Cervantes y del Teatro Municipal General San Martín durante la última dictadura militar (1976-1983)
In recent years, research on the last Argentine military dictatorship has emphasized what, from a Foucauldian perspective, can be called the "productive dimension of power" (Risler, 2018). In these approaches, cultural policies acquire a singular relevance, since they allow us to visualize...
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| Autores principales: | , |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Escuela de Historia. Facultad de Humanidades y Artes. Universidad Nacional de Rosario
2024
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| Acceso en línea: | https://revistapaginas.unr.edu.ar/index.php/RevPaginas/article/view/899 |
| Aporte de: |
| Sumario: | In recent years, research on the last Argentine military dictatorship has emphasized what, from a Foucauldian perspective, can be called the "productive dimension of power" (Risler, 2018). In these approaches, cultural policies acquire a singular relevance, since they allow us to visualize in the strategy of the Armed Forces the central place occupied by the bid to build consensus and win the support of the population. In this paper, we seek to contribute to these lines of research by analyzing the management of the two main official theaters located in the city of Buenos Aires during the dictatorial period: the Teatro Nacional Cervantes (TNC), headed by Rodolfo Graziano, and the Teatro Municipal General San Martín (TMGSM), headed by Kive Staiff. In both cases, we are interested in thinking about the ways in which these administrations strengthened, tensed or produced an ambiguous dynamic with respect to the central premises of the military regime's cultural policies. In what refers to the regional integration plans, to the legitimization of specific dramatic poetics and to the forms of diffusion of their productions in the different political moments of the 1976-1983 period. |
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