ABSTRACT

The article explores the aesthetics of performing that was consolidated in Argentina in the ‘90s. It caused a crisis in the statute of representation by escaping from the prevalence of the text (associated to naturalistic and realistic aesthetics) and also placing the actor at the core of the scene as a creative potential. Focusing on the analysis of what the argentine theatre director Ricardo Bartís calls the ‘stories of acting’, the article historicizes this tendency considering as fundamental turning points the two argentine theatre modernizations of the 30´s and 60´s as well as the influence of the 80´s avant garde . The ‘stories of acting’ attack the idea of the play, as they are based on groupal modes of production (which originated the so called experimental-workshops) and definitely transformed the relation between the author, director and actor. Taking Ricardo Bartis and his disciples productions as a reference, these concepts will also be analyzed in the context of following three plays: Postales argentinas, La maquina idiot’ and Amar.

BIOGRAFIA

Cynthia Edul insegna Letteratura e Produzione di progetti culturali nell’Università di San Andrés, in Argentina. Ha insegnato Estetiche teatrali presso il Conservatorio di Arte drammatica. Scrittrice e drammaturga, nel 2006 con il testo Miami ha vinto il premio ‘Argentores opera prima’. Con Alejandro Tantanián ha fondato la piattaforma di drammaturgia contemporanea «Panorama sud» (www.panorama-sur.com.ar).

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