‘To learn the worst things by hearing a lively voice’: Listening in the context of performances that use memory as material in a post-traumatic scenario

I argue in this text that the paradigm by which theatre is understood as representation is limited when it comes to understanding the transformative power of listening in the context of performances that use memory as material in a post-traumatic scenario. To understand this type of theatre as repre...

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Autor principal: Sotelo Castro, Luis Carlos
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba. 2019
Materias:
escucha
memoria
teatro
actos escénicos de memoria
posicionamiento
listening
memory
theatre
performance of memory
positioning
Acceso en línea:https://revistas.unc.edu.ar/index.php/ART/article/view/25326
Aporte de:
Artilugio de Universidad Nacional de Córdoba
id I10-R361-article-25326
record_format ojs
spelling I10-R361-article-253262023-03-02T18:58:23Z ‘To learn the worst things by hearing a lively voice’: Listening in the context of performances that use memory as material in a post-traumatic scenario “Enterarse de viva voz de las peores cosas”: La escucha en el contexto de actos escénicos que usan la memoria como material en un escenario post-traumático Sotelo Castro, Luis Carlos escucha memoria teatro actos escénicos de memoria posicionamiento listening memory theatre performance of memory positioning I argue in this text that the paradigm by which theatre is understood as representation is limited when it comes to understanding the transformative power of listening in the context of performances that use memory as material in a post-traumatic scenario. To understand this type of theatre as representation implies to locate listening as a semantic problem. In consequence, to listen is seen as equal to interpreting. In this text, instead, I argue for locating listening as a pragmatic problem. In consequence, listening needs to be conceptualized as an ethical problem, which in turn is part of a wider politics of listening. I discuss two anecdotes related with the memory play Kilele (2004) by Colombian Theatre Varasanta to illustrate this claim. Este texto propone que el paradigma del teatro como representación es limitado, pues no ayuda a entender en forma adecuada el poder transformativo de la escucha en el contexto de un acto escénico de memoria que tiene lugar en un escenario postraumático. El paradigma del teatro como representación ubica la escucha en ese tipo de obras como un problema de semántica. En consecuencia, escuchar se entiende como interpretar. En cambio, este texto propone ubicar la escucha como un problema de pragmática. En consecuencia, la escucha debe entenderse como un problema ético, inmerso dentro de una política de la escucha más amplia. Se discuten dos anécdotas relacionadas con la obra Kilele (2004) del Teatro Varasanta (Colombia) para ilustrar esta idea. Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba. 2019-09-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Double-blind peer-reviewed article Artículo revisado por sistema de pares doble ciego application/pdf text/html application/epub+zip https://revistas.unc.edu.ar/index.php/ART/article/view/25326 10.55443/artilugio.n5.2019.25326 Artilugio; No. 5 (2019): Temporality, Context and Imaginary Frameworks; 184-205 Artilugio; Núm. 5 (2019): Temporalidad, contexto y entramados imaginarios; 184-205 Artilugio; n. 5 (2019): Temporalidad, contexto y entramados imaginarios; 184-205 2408-462X 10.55443/artilugio.n5.2019 spa https://revistas.unc.edu.ar/index.php/ART/article/view/25326/24600 https://revistas.unc.edu.ar/index.php/ART/article/view/25326/24619 https://revistas.unc.edu.ar/index.php/ART/article/view/25326/24647 Derechos de autor 2019 Luis Carlos Sotelo Castro http://creativecommons.org/licenses/by-nc-nd/4.0/
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-361
container_title_str Artilugio
language Español
format Artículo revista
topic escucha
memoria
teatro
actos escénicos de memoria
posicionamiento
listening
memory
theatre
performance of memory
positioning
spellingShingle escucha
memoria
teatro
actos escénicos de memoria
posicionamiento
listening
memory
theatre
performance of memory
positioning
Sotelo Castro, Luis Carlos
‘To learn the worst things by hearing a lively voice’: Listening in the context of performances that use memory as material in a post-traumatic scenario
topic_facet escucha
memoria
teatro
actos escénicos de memoria
posicionamiento
listening
memory
theatre
performance of memory
positioning
author Sotelo Castro, Luis Carlos
author_facet Sotelo Castro, Luis Carlos
author_sort Sotelo Castro, Luis Carlos
title ‘To learn the worst things by hearing a lively voice’: Listening in the context of performances that use memory as material in a post-traumatic scenario
title_short ‘To learn the worst things by hearing a lively voice’: Listening in the context of performances that use memory as material in a post-traumatic scenario
title_full ‘To learn the worst things by hearing a lively voice’: Listening in the context of performances that use memory as material in a post-traumatic scenario
title_fullStr ‘To learn the worst things by hearing a lively voice’: Listening in the context of performances that use memory as material in a post-traumatic scenario
title_full_unstemmed ‘To learn the worst things by hearing a lively voice’: Listening in the context of performances that use memory as material in a post-traumatic scenario
title_sort ‘to learn the worst things by hearing a lively voice’: listening in the context of performances that use memory as material in a post-traumatic scenario
description I argue in this text that the paradigm by which theatre is understood as representation is limited when it comes to understanding the transformative power of listening in the context of performances that use memory as material in a post-traumatic scenario. To understand this type of theatre as representation implies to locate listening as a semantic problem. In consequence, to listen is seen as equal to interpreting. In this text, instead, I argue for locating listening as a pragmatic problem. In consequence, listening needs to be conceptualized as an ethical problem, which in turn is part of a wider politics of listening. I discuss two anecdotes related with the memory play Kilele (2004) by Colombian Theatre Varasanta to illustrate this claim.
publisher Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba.
publishDate 2019
url https://revistas.unc.edu.ar/index.php/ART/article/view/25326
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AT sotelocastroluiscarlos enterarsedevivavozdelaspeorescosaslaescuchaenelcontextodeactosescenicosqueusanlamemoriacomomaterialenunescenarioposttraumatico
first_indexed 2024-09-03T22:28:03Z
last_indexed 2024-09-03T22:28:03Z
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