The Body and the Theatre as Territories for Representation of the Real in Museo Miguel Ángel Boezzio (1998) by 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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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Estudios e investigaciones
2022
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| Acceso en línea: | http://revistascientificas.filo.uba.ar/index.php/payro/article/view/11778 |
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| Sumario: | 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. |
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