Tracing History: the (Re)Appearance of the Past in Pompeyo Audivert’s "Museo Ezeiza" and "Edipo en Ezeiza"
The theatrical representation of the past is played in a disjointed anachronism that creates a tension between the past, the present and the future. This temporal disadjustment opens the way to new forms of perception and encounters with history, enabling the discovery of new relations, the multipli...
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| Autores principales: | , |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2018
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| Acceso en línea: | http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/5481 |
| Aporte de: |
| Sumario: | The theatrical representation of the past is played in a disjointed anachronism that creates a tension between the past, the present and the future. This temporal disadjustment opens the way to new forms of perception and encounters with history, enabling the discovery of new relations, the multiplication of viewpoints and the emergence of the discontinuities that operate within any historical event. The analysis of temporality in works that portray the recent past allowed us to think about the aesthetic and political dimension of contemporary theatre in order to restore the historical memory. This article works with the notions of time (Derrida, 1998), montage (Benjamin, 1990, 2005; Didi-Huberman, 2008) and anachronism (Didi-Huberman, 2008; 2011). |
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