Cuerpo y teatro como territorios para representar lo real: Museo Miguel Ángel Boezzio (1998) de Federico León
As a space of the gaze, the theater articulates an optic through which it observes the world. Thanks to the convivio and its particular way of producing thought, dramatic art constitutes a unique means to activate memory as work in the context of the Argentine Post-dictatorship. Although the relatio...
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I28-R145-2019_14-5_htm2022-10-31 Jorge Dubatti 2618-4230 Estudios e investigaciones, no. 14 As a space of the gaze, the theater articulates an optic through which it observes the world. Thanks to the convivio and its particular way of producing thought, dramatic art constitutes a unique means to activate memory as work in the context of the Argentine Post-dictatorship. Although the relationship between theater and dictatorship has been docu-mented, the Malvinas War has not received the same attention. The Malvinas War (April 2 – June 14, 1982) marks a turning point in history, but it cannot be reduced to the outcome of the combat, so it continues to happen as a trauma. For this reason, it is relevant to attend to the Malvinas War from the point of view of the theater: the analysis of the dramatic texts contributes to the understanding of the appropriations and also how the facts of the war have been viewed from and through the theatrical body. In this article I focus on the case of Museo Miguel Ángel Boezzio (1998), by Federico León, in order to examine how it produces a novel reading about the Malvinas War based on the scenic presence of a real ex-combatant on stage. Considering this figure and how it problematizes the processes of memory, fictionalization and reception through the notion of “museum”, I affirm that it is a poetics of the real, especially after examining the theoretical perspective of José A. Sánchez. Como espacio de la mirada, el teatro articula una óptica a través de la cual observa el mundo. Gracias al convivio y a su particular modo de producir pensamiento el arte dramático constituye un medio único para activar la memoria como trabajo en el contexto de la Posdictadura Argentina. Si bien la relación entre teatro y dictadura ha sido documentada, la Guerra de Malvinas no ha contado con la misma atención. La Guerra de Malvinas (2 de abril – 14 de junio de 1982) marca un punto de quiebre en la historia, pero no puede reducirse al resultado del combate, por lo que continúa aconteciendo como trauma. Por tal motivo es relevante atender la Guerra de Malvinas desde el teatro: el análisis de los textos dramáticos aporta a la comprensión de las apropiaciones y también cómo han sido mirados los hechos de la guerra desde y a través del cuerpo teatral. En este artículo focalizo en el caso de Museo Miguel Ángel Boezzio (1998), de Federico León con el fin de examinar cómo produce una lectura novedosa sobre la Guerra de Malvinas a partir de la presencia escénica de un excombatiente real en escena. Considerando esta figura y cómo problematiza los procesos de memoria, ficcionalización y recepción a través de la noción de «museo», afirmo que se trata de una poética de lo real, especialmente tras examinar la perspectiva teórica de José A. Sánchez. application/pdf http://revistascientificas.filo.uba.ar/index.php/payro/article/view/11778 Estudios e investigaciones, no. 14 Cuerpo y teatro como territorios para representar lo real: Museo Miguel Ángel Boezzio (1998) de Federico León http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=estuinv&d=2019_14-5_htm |
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Universidad de Buenos Aires |
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Repositorio Digital de la Universidad de Buenos Aires (UBA) |
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As a space of the gaze, the theater articulates an optic through which it observes the world. Thanks to the convivio and its particular way of producing thought, dramatic art constitutes a unique means to activate memory as work in the context of the Argentine Post-dictatorship. Although the relationship between theater and dictatorship has been docu-mented, the Malvinas War has not received the same attention. The Malvinas War (April 2 – June 14, 1982) marks a turning point in history, but it cannot be reduced to the outcome of the combat, so it continues to happen as a trauma. For this reason, it is relevant to attend to the Malvinas War from the point of view of the theater: the analysis of the dramatic texts contributes to the understanding of the appropriations and also how the facts of the war have been viewed from and through the theatrical body. In this article I focus on the case of Museo Miguel Ángel Boezzio (1998), by Federico León, in order to examine how it produces a novel reading about the Malvinas War based on the scenic presence of a real ex-combatant on stage. Considering this figure and how it problematizes the processes of memory, fictionalization and reception through the notion of “museum”, I affirm that it is a poetics of the real, especially after examining the theoretical perspective of José A. Sánchez. |
| author |
Jorge Dubatti |
| spellingShingle |
Jorge Dubatti Cuerpo y teatro como territorios para representar lo real: Museo Miguel Ángel Boezzio (1998) de Federico León |
| author_facet |
Jorge Dubatti |
| author_sort |
Jorge Dubatti |
| title |
Cuerpo y teatro como territorios para representar lo real: Museo Miguel Ángel Boezzio (1998) de Federico León |
| title_short |
Cuerpo y teatro como territorios para representar lo real: Museo Miguel Ángel Boezzio (1998) de Federico León |
| title_full |
Cuerpo y teatro como territorios para representar lo real: Museo Miguel Ángel Boezzio (1998) de Federico León |
| title_fullStr |
Cuerpo y teatro como territorios para representar lo real: Museo Miguel Ángel Boezzio (1998) de Federico León |
| title_full_unstemmed |
Cuerpo y teatro como territorios para representar lo real: Museo Miguel Ángel Boezzio (1998) de Federico León |
| title_sort |
cuerpo y teatro como territorios para representar lo real: museo miguel ángel boezzio (1998) de federico león |
| url |
http://revistascientificas.filo.uba.ar/index.php/payro/article/view/11778 http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=estuinv&d=2019_14-5_htm |
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