‘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...
Guardado en:
| Autor principal: | |
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Producción e Investigación en Artes, Facultad de Artes, Universidad Nacional de Córdoba.
2019
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| Materias: | |
| Acceso en línea: | https://revistas.unc.edu.ar/index.php/ART/article/view/25326 |
| Aporte de: |
| Sumario: | 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. |
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