Performing Artists' Identities and Antagonistic Appeals (1902-1955)

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In this paper we will analyze the working conditions of artists during the first five decades of the 20th Century. In the first section, we will focus on the characteristics of the commercial organization of performing arts, as well as on the emergence of the associations and unions that gathered th...

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Autor principal: Mauro, Karina
Formato: Artículo publishedVersion
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2018
Materias:
artistas del espectáculo
mundo del trabajo
identidad
teatro independiente
primer peronismo
artists
work studies
identity
independent theatre
first peronism
Acceso en línea:https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/5100
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=5100_oai
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spelling I28-R145-5100_oai2025-11-17 Mauro, Karina 2018-12-21 In this paper we will analyze the working conditions of artists during the first five decades of the 20th Century. In the first section, we will focus on the characteristics of the commercial organization of performing arts, as well as on the emergence of the associations and unions that gathered the diverse agents of the sector and on the conflicts and identities that arose in the biennium 1919-1921. We will also look into the legislation and the limited role played by the State, both national and municipal, regarding the working conditions of the artists. Finally, we will analyze the incursion of the artists in the political field. In the second section, we will consider the imaginary imposed by the independent theatre that, in order to transmit an emancipatory message to spectators, displaces the relations of production to the exterior of artistic activity, constructing the figure of artists as an activists. Conversely, the first Peronism tried to privilege the labor dimension of all activities, even cultural ones, thus appealing to artists as workers. We consider that deeper conflicts underlie in this dispute, such as the mutual influence between the State and artistic production, or the connections that culture and arts have with the world of work.  En el presente artículo analizaremos las condiciones laborales de los artistas durante las primeras cinco décadas del siglo XX. En el primer apartado, nos centraremos en las características de la organización comercial de las artes del espectáculo, en el surgimiento de las asociaciones y gremios que nucleaban a los diversos agentes del sector y en los conflictos e identidades surgidos en el bienio 1919-1921. Asimismo, profundizaremos en la legislación existente y en el escaso rol cumplido por el Estado, tanto nacional como municipal, respecto de las condiciones laborales de los artistas, y en la incursión de los mismos en la arena política. En el segundo apartado, tomaremos en consideración el imaginario impuesto por el teatro independiente que, en pos de transmitir al público un mensaje emancipador, desplaza las relaciones de producción al exterior de la actividad artística, construyendo la figura del artista como militante. Por el contrario, el primer peronismo intentará privilegiar la dimensión laboral de todas las actividades, inclusive las culturales, apelando a los artistas como trabajadores. Consideramos que en esta disputa subyacen conflictos más profundos, como la mutua influencia entre el Estado y la producción artística, o los vínculos de la cultura y el arte con el mundo del trabajo.  application/pdf https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/5100 10.34096/tdf.n27.5100 spa Facultad de Filosofía y Letras, Universidad de Buenos Aires https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/5100/4614 telondefondo. Revista de Teoría y Crítica Teatral; Núm. 27 (2018); 176-231 1669-6301 artistas del espectáculo mundo del trabajo identidad teatro independiente primer peronismo artists work studies identity independent theatre first peronism Performing Artists' Identities and Antagonistic Appeals (1902-1955) Identidades y apelaciones antagónicas de los trabajadores del espectáculo (1902-1955) info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=5100_oai
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-145
collection Repositorio Digital de la Universidad de Buenos Aires (UBA)
language Español
orig_language_str_mv spa
topic artistas del espectáculo
mundo del trabajo
identidad
teatro independiente
primer peronismo
artists
work studies
identity
independent theatre
first peronism
spellingShingle artistas del espectáculo
mundo del trabajo
identidad
teatro independiente
primer peronismo
artists
work studies
identity
independent theatre
first peronism
Mauro, Karina
Performing Artists' Identities and Antagonistic Appeals (1902-1955)
topic_facet artistas del espectáculo
mundo del trabajo
identidad
teatro independiente
primer peronismo
artists
work studies
identity
independent theatre
first peronism
description In this paper we will analyze the working conditions of artists during the first five decades of the 20th Century. In the first section, we will focus on the characteristics of the commercial organization of performing arts, as well as on the emergence of the associations and unions that gathered the diverse agents of the sector and on the conflicts and identities that arose in the biennium 1919-1921. We will also look into the legislation and the limited role played by the State, both national and municipal, regarding the working conditions of the artists. Finally, we will analyze the incursion of the artists in the political field. In the second section, we will consider the imaginary imposed by the independent theatre that, in order to transmit an emancipatory message to spectators, displaces the relations of production to the exterior of artistic activity, constructing the figure of artists as an activists. Conversely, the first Peronism tried to privilege the labor dimension of all activities, even cultural ones, thus appealing to artists as workers. We consider that deeper conflicts underlie in this dispute, such as the mutual influence between the State and artistic production, or the connections that culture and arts have with the world of work. 
format Artículo
publishedVersion
author Mauro, Karina
author_facet Mauro, Karina
author_sort Mauro, Karina
title Performing Artists' Identities and Antagonistic Appeals (1902-1955)
title_short Performing Artists' Identities and Antagonistic Appeals (1902-1955)
title_full Performing Artists' Identities and Antagonistic Appeals (1902-1955)
title_fullStr Performing Artists' Identities and Antagonistic Appeals (1902-1955)
title_full_unstemmed Performing Artists' Identities and Antagonistic Appeals (1902-1955)
title_sort performing artists' identities and antagonistic appeals (1902-1955)
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2018
url https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/5100
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=5100_oai
work_keys_str_mv AT maurokarina performingartistsidentitiesandantagonisticappeals19021955
AT maurokarina identidadesyapelacionesantagonicasdelostrabajadoresdelespectaculo19021955
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