"Deformances": Possibilities for a Theatrical Cartography of Gender Disobediences at the Centro Cultural Rojas (1984-2014)

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In the eighties, at the Centro Cultural Ricardo Rojas (C.C.R.R) of the University of Buenos Aires, Batato Barea (self-defined as a literary-transvestite-clown) proposed a body dramaturgy that disregarded the logic of the gender cystem [sic]. In the new millennium, within the framework of the activit...

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Autor principal: Bevacqua, Guillermina
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2019
Materias:
Centro Cultural Rojas
Theatrical Cartography
gender disobediences
Deformances
cartografía teatral
desobediencias sexo-genéricas
deformances
Acceso en línea:http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/6520
Aporte de:
telondefondo de Universidad de Buenos Aires
id I28-R267-article-6520
record_format ojs
spelling I28-R267-article-65202023-06-27T21:30:29Z "Deformances": Possibilities for a Theatrical Cartography of Gender Disobediences at the Centro Cultural Rojas (1984-2014) "Deformances": recorridos para una cartografía teatral de las desobediencias sexo-genéricas en el Centro Cultural Rojas (1984-2014) Bevacqua, Guillermina Centro Cultural Rojas Theatrical Cartography gender disobediences Deformances Centro Cultural Rojas cartografía teatral desobediencias sexo-genéricas deformances In the eighties, at the Centro Cultural Ricardo Rojas (C.C.R.R) of the University of Buenos Aires, Batato Barea (self-defined as a literary-transvestite-clown) proposed a body dramaturgy that disregarded the logic of the gender cystem [sic]. In the new millennium, within the framework of the activities developed by the Gender Technologies Area of the aforementioned institution, his figure was evoked, in a spectral manner, through a performing arts program that dialogued with the social movement of the transvestites of Buenos Aires. Based on that intersection, a theatrical cartography of gender disobediences can be traced at the C.C.R.R in the period 1984-2014. To understand the institutional profile that made this possible, the first part of this study offers a historiographical panorama of the Centro Cultural Ricardo Rojas. Then, the second part proposes a reflection on the characterization of this cartography. Finally, the concept of deformance is presented and analyzed as a counter-productive category under which we can register a corpus of artists that participated in the institution, intermittently, throughout its 30 years of existence.  En la década del ochenta, en el Centro Cultural Rojas de la Universidad de Buenos Aires, Batato Barea, en su devenir claun-travesti-literario, propuso una dramaturgia corporal que desacataba las lógicas del cistema [sic] sexo-género. En el nuevo milenio, en el marco de las actividades desarrolladas por el Área de Tecnologías de Género de la mencionada institución, su figura fue evocada, de manera espectral, a través de una programación escénica que dialogó con el movimiento social de las travestis de la ciudad de Buenos Aires. A partir de dicha intersección, en el Rojas se puede trazar una cartografía teatral de las desobediencias sexo-genéricas en el periodo 1984-2014. Para dar cuenta del perfil institucional que posibilitó este recorrido, en la primera parte de este trabajo, se ofrece un panorama historiográfico del Centro Cultural Rojas. Luego, en la segunda parte, se propone reflexionar en torno a la caracterización de esta cartografía. Por último, se explicita el concepto deformance, en tanto categoría contra-productiva bajo la cual inscribir un corpus de artistas que participó en la institución, de manera intermitente, a lo largo de sus 30 años.  Facultad de Filosofía y Letras, Universidad de Buenos Aires 2019-03-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/6520 10.34096/tdf.n29.6520 telondefondo. Revista de Teoría y Crítica Teatral; Núm. 29 (2019); 130-155 1669-6301 spa http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/6520/5750
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-267
container_title_str telondefondo
language Español
format Artículo revista
topic Centro Cultural Rojas
Theatrical Cartography
gender disobediences
Deformances
Centro Cultural Rojas
cartografía teatral
desobediencias sexo-genéricas
deformances
spellingShingle Centro Cultural Rojas
Theatrical Cartography
gender disobediences
Deformances
Centro Cultural Rojas
cartografía teatral
desobediencias sexo-genéricas
deformances
Bevacqua, Guillermina
"Deformances": Possibilities for a Theatrical Cartography of Gender Disobediences at the Centro Cultural Rojas (1984-2014)
topic_facet Centro Cultural Rojas
Theatrical Cartography
gender disobediences
Deformances
Centro Cultural Rojas
cartografía teatral
desobediencias sexo-genéricas
deformances
author Bevacqua, Guillermina
author_facet Bevacqua, Guillermina
author_sort Bevacqua, Guillermina
title "Deformances": Possibilities for a Theatrical Cartography of Gender Disobediences at the Centro Cultural Rojas (1984-2014)
title_short "Deformances": Possibilities for a Theatrical Cartography of Gender Disobediences at the Centro Cultural Rojas (1984-2014)
title_full "Deformances": Possibilities for a Theatrical Cartography of Gender Disobediences at the Centro Cultural Rojas (1984-2014)
title_fullStr "Deformances": Possibilities for a Theatrical Cartography of Gender Disobediences at the Centro Cultural Rojas (1984-2014)
title_full_unstemmed "Deformances": Possibilities for a Theatrical Cartography of Gender Disobediences at the Centro Cultural Rojas (1984-2014)
title_sort "deformances": possibilities for a theatrical cartography of gender disobediences at the centro cultural rojas (1984-2014)
description In the eighties, at the Centro Cultural Ricardo Rojas (C.C.R.R) of the University of Buenos Aires, Batato Barea (self-defined as a literary-transvestite-clown) proposed a body dramaturgy that disregarded the logic of the gender cystem [sic]. In the new millennium, within the framework of the activities developed by the Gender Technologies Area of the aforementioned institution, his figure was evoked, in a spectral manner, through a performing arts program that dialogued with the social movement of the transvestites of Buenos Aires. Based on that intersection, a theatrical cartography of gender disobediences can be traced at the C.C.R.R in the period 1984-2014. To understand the institutional profile that made this possible, the first part of this study offers a historiographical panorama of the Centro Cultural Ricardo Rojas. Then, the second part proposes a reflection on the characterization of this cartography. Finally, the concept of deformance is presented and analyzed as a counter-productive category under which we can register a corpus of artists that participated in the institution, intermittently, throughout its 30 years of existence. 
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2019
url http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/6520
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first_indexed 2023-06-27T21:34:15Z
last_indexed 2023-06-27T21:34:15Z
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