"Like Chekhov's characters". Intersections between Theatre and Photography II.
During the last years, a series of Argentine theater publications have compiled different texts and stage experiences. In general, our hypothesis is that these are intermedial formats that seek to bring into play relations between the word and the image with the purpose of activating the performance...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2022
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| Acceso en línea: | http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/11992 |
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I28-R267-article-11992 |
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Universidad de Buenos Aires |
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telondefondo |
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Español |
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Artículo revista |
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Intermediality Documentary Theatre Book Photography Voice Arias Intermedialidad Teatro Documental Libro Fotografìa Voz Arias |
| spellingShingle |
Intermediality Documentary Theatre Book Photography Voice Arias Intermedialidad Teatro Documental Libro Fotografìa Voz Arias Pinta, María Fernanda "Like Chekhov's characters". Intersections between Theatre and Photography II. |
| topic_facet |
Intermediality Documentary Theatre Book Photography Voice Arias Intermedialidad Teatro Documental Libro Fotografìa Voz Arias |
| author |
Pinta, María Fernanda |
| author_facet |
Pinta, María Fernanda |
| author_sort |
Pinta, María Fernanda |
| title |
"Like Chekhov's characters". Intersections between Theatre and Photography II. |
| title_short |
"Like Chekhov's characters". Intersections between Theatre and Photography II. |
| title_full |
"Like Chekhov's characters". Intersections between Theatre and Photography II. |
| title_fullStr |
"Like Chekhov's characters". Intersections between Theatre and Photography II. |
| title_full_unstemmed |
"Like Chekhov's characters". Intersections between Theatre and Photography II. |
| title_sort |
"like chekhov's characters". intersections between theatre and photography ii. |
| description |
During the last years, a series of Argentine theater publications have compiled different texts and stage experiences. In general, our hypothesis is that these are intermedial formats that seek to bring into play relations between the word and the image with the purpose of activating the performance experiences (already happened and transformed into archival materials) and the texts (virtuality always upgradable in the act of reading and also, potentially, in future stagings) in a new experience (both literary and visual) beyond the staging that gave rise to it.
On this occasion we will discuss Melancolía y manifestaciones [Melancholy and Manifestations] (2012), published jointly with Mi vida después [My Life After] (2009) and El año en que nací [The Year I Was Born] (2012) in the compilation Mi vida después y otros textos [My Life After and Other Texts] (Arias, 2016). It deals with the documentary theater trilogy in which Lola Arias works on the experience of the dictatorships of Argentina and Chile between the 70s and 80s, focusing on the perspective that the generation of children born in that context have on their parents. The project as a whole sought to reflect about the official history, review and declassify its archives; but it also thought about another version of the story, beyond the version transmitted by the generation of parents. Widely studied internationally, those shows and their subsequent publication emerged in a context, expanded for over a decade now, of renewed reflection and experimentation on the subject in particular and on the documentary genre in general. This is why it is an object of special interest to those who approach these perspectives. |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2022 |
| url |
http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/11992 |
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AT pintamariafernanda likechekhovscharactersintersectionsbetweentheatreandphotographyii AT pintamariafernanda comopersonajesdechejovinterseccionesdelteatroylafotografiaii |
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2023-06-27T21:36:30Z |
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2023-11-08T21:12:01Z |
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I28-R267-article-119922023-10-02T14:13:46Z "Like Chekhov's characters". Intersections between Theatre and Photography II. “Como personajes de Chéjov”. Intersecciones del teatro y la fotografía (II). Pinta, María Fernanda Intermediality Documentary Theatre Book Photography Voice Arias Intermedialidad Teatro Documental Libro Fotografìa Voz Arias During the last years, a series of Argentine theater publications have compiled different texts and stage experiences. In general, our hypothesis is that these are intermedial formats that seek to bring into play relations between the word and the image with the purpose of activating the performance experiences (already happened and transformed into archival materials) and the texts (virtuality always upgradable in the act of reading and also, potentially, in future stagings) in a new experience (both literary and visual) beyond the staging that gave rise to it. On this occasion we will discuss Melancolía y manifestaciones [Melancholy and Manifestations] (2012), published jointly with Mi vida después [My Life After] (2009) and El año en que nací [The Year I Was Born] (2012) in the compilation Mi vida después y otros textos [My Life After and Other Texts] (Arias, 2016). It deals with the documentary theater trilogy in which Lola Arias works on the experience of the dictatorships of Argentina and Chile between the 70s and 80s, focusing on the perspective that the generation of children born in that context have on their parents. The project as a whole sought to reflect about the official history, review and declassify its archives; but it also thought about another version of the story, beyond the version transmitted by the generation of parents. Widely studied internationally, those shows and their subsequent publication emerged in a context, expanded for over a decade now, of renewed reflection and experimentation on the subject in particular and on the documentary genre in general. This is why it is an object of special interest to those who approach these perspectives. Durante los últimos años, una serie de publicaciones de teatro argentino han compilado diferentes textos y experiencias escénicas. En líneas generales, nuestra hipótesis es que se trata de formatos intermediales que buscan poner en juego relaciones entre la palabra y la imagen con el propósito de activar las experiencias escénicas (ya acontecidas y transformadas en materiales de archivo) y textuales (virtualidad siempre actualizable en el acto de la lectura y también, potencialmente, en futuras puestas en escena) en una nueva experiencia (a la vez literaria y visual) más allá de la puesta en escena que le dio origen. En esta ocasión analizaré sobre Melancolía y manifestaciones (2012), publicada conjuntamente con Mi vida después (2009) y El año en que nací (2012) en la compilación Mi vida después y otros textos (Arias, 2016). Se trata de la trilogía de teatro documental en donde Lola Arias trabaja sobre la experiencia de las dictaduras de Argentina y Chile entre los años 70 y 80, haciendo foco en la mirada de la generación de los hijos que nacieron en aquel contexto sobre su progenitores. El proyecto en su conjunto buscaba reflexionar acerca de la historia oficial, revisar y desclasificar sus archivos; pero también pensar una versión propia de la historia, más allá de la versión transmitida por la generación de los padres. Ampliamente estudiados internacionalmente, aquellos espectáculos y su posterior publicación se ubican en un contexto, desde hace más de una década, de renovada reflexión y experimentación sobre la temática en particular y sobre el género documental en general. Resulta por ello un objeto de especial interés para quienes abordan estas perspectivas. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2022-10-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/11992 10.34096/tdf.n36.11992 telondefondo. Revista de Teoría y Crítica Teatral; Núm. 36 (2022) 1669-6301 spa http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/11992/11066 Derechos de autor 2022 telondefondo. Revista de Teoría y Crítica Teatral https://creativecommons.org/licenses/by-sa/4.0 |