Archivo y documentalismo en la escena argentina. Campo minado de Lola Arias como experiencia de teatro documental
In drama studies, the theoretical category 'documentary theatre' (Weiss,[1968] 2017; Vezzero, 2017; Pavis, 1998) is one of the least studied contemporary dramatic forms. Usually, the study of document drama is included within the more general notion of 'political theater' (Piscat...
Guardado en:
| Autor principal: | |
|---|---|
| Formato: | Artículo revista |
| Lenguaje: | Español |
| Publicado: |
Universidad Nacional del Litoral
2021
|
| Materias: | |
| Acceso en línea: | https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/HilodelaFabula/article/view/10858 |
| Aporte de: |
| id |
I26-R133-article-10858 |
|---|---|
| record_format |
ojs |
| institution |
Universidad Nacional del Litoral |
| institution_str |
I-26 |
| repository_str |
R-133 |
| container_title_str |
Biblioteca Virtual - Publicaciones (UNL) |
| language |
Español |
| format |
Artículo revista |
| topic |
political drama documentary theater Lola Arias Campo minado teatro político teatro documental Lola Arias Campo minado |
| spellingShingle |
political drama documentary theater Lola Arias Campo minado teatro político teatro documental Lola Arias Campo minado Arpes, Marcela Archivo y documentalismo en la escena argentina. Campo minado de Lola Arias como experiencia de teatro documental |
| topic_facet |
political drama documentary theater Lola Arias Campo minado teatro político teatro documental Lola Arias Campo minado |
| author |
Arpes, Marcela |
| author_facet |
Arpes, Marcela |
| author_sort |
Arpes, Marcela |
| title |
Archivo y documentalismo en la escena argentina. Campo minado de Lola Arias como experiencia de teatro documental |
| title_short |
Archivo y documentalismo en la escena argentina. Campo minado de Lola Arias como experiencia de teatro documental |
| title_full |
Archivo y documentalismo en la escena argentina. Campo minado de Lola Arias como experiencia de teatro documental |
| title_fullStr |
Archivo y documentalismo en la escena argentina. Campo minado de Lola Arias como experiencia de teatro documental |
| title_full_unstemmed |
Archivo y documentalismo en la escena argentina. Campo minado de Lola Arias como experiencia de teatro documental |
| title_sort |
archivo y documentalismo en la escena argentina. campo minado de lola arias como experiencia de teatro documental |
| description |
In drama studies, the theoretical category 'documentary theatre' (Weiss,[1968] 2017; Vezzero, 2017; Pavis, 1998) is one of the least studied contemporary dramatic forms. Usually, the study of document drama is included within the more general notion of 'political theater' (Piscator, 1976) Brecht,[1948] 1983; Badiou, 2011, 2015; Pavis, 1998; Irazabal, 2004). All theater can be considered political, however, the theoretical notion formulated by Erwin Piscator dates back to the first decades of the XX century. Piscator used Marxist theory to analyse theater and collected his ideas and experiences in his book Political Theatre, published in 1929, where the author devotes an entire chapter to documentary plays, which he links unfailingly to the philosophy of historical materialism. Documentary theatre can be considered a demarcation or a derivation of this notion, as it is created on the borderline between fiction and reality and works especially with the ideas of archive and document or primary source. It is also in Germany where this creative experience is formalized, especially from Peter Weiss’s theater and theoretical ideas (1968). Documentary theatre confronts the classic definition of dramatic theatre, often confused with the denomination of docudrama, historical drama, or biodrama, documentary theater pretends not to be fictional and to be starred by those actually involved in the real event being staged. That is to say, the documentary value lies in the appropriation of a real story, the semiotic activation of theatrical inputs (texts, photos, screenings, costumes, objects, testimonies) that come from that real event and, in addition, the fact that it is played by the people involved in that event. In Argentina, the writer, theatre and film director and performer Lola Arias is the one who feels and recognizes herself as part of the lineage of the 20th century’s German theatre and, especially, of Weiss’ theatre. This article will analyze the presence of documentary theatre in her work, but, especially, in Campo minado (2016- 2020), a play that brings together three Argentine veterans and three British marines on stage to narrate and document the Malvinas War’s experience and traumatic effects |
| publisher |
Universidad Nacional del Litoral |
| publishDate |
2021 |
| url |
https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/HilodelaFabula/article/view/10858 |
| work_keys_str_mv |
AT arpesmarcela archivoydocumentalismoenlaescenaargentinacampominadodelolaariascomoexperienciadeteatrodocumental |
| first_indexed |
2023-07-05T23:09:20Z |
| last_indexed |
2023-07-05T23:09:20Z |
| _version_ |
1770623923710328832 |
| spelling |
I26-R133-article-108582021-12-23T15:50:16Z Archivo y documentalismo en la escena argentina. Campo minado de Lola Arias como experiencia de teatro documental Arpes, Marcela political drama documentary theater Lola Arias Campo minado teatro político teatro documental Lola Arias Campo minado In drama studies, the theoretical category 'documentary theatre' (Weiss,[1968] 2017; Vezzero, 2017; Pavis, 1998) is one of the least studied contemporary dramatic forms. Usually, the study of document drama is included within the more general notion of 'political theater' (Piscator, 1976) Brecht,[1948] 1983; Badiou, 2011, 2015; Pavis, 1998; Irazabal, 2004). All theater can be considered political, however, the theoretical notion formulated by Erwin Piscator dates back to the first decades of the XX century. Piscator used Marxist theory to analyse theater and collected his ideas and experiences in his book Political Theatre, published in 1929, where the author devotes an entire chapter to documentary plays, which he links unfailingly to the philosophy of historical materialism. Documentary theatre can be considered a demarcation or a derivation of this notion, as it is created on the borderline between fiction and reality and works especially with the ideas of archive and document or primary source. It is also in Germany where this creative experience is formalized, especially from Peter Weiss’s theater and theoretical ideas (1968). Documentary theatre confronts the classic definition of dramatic theatre, often confused with the denomination of docudrama, historical drama, or biodrama, documentary theater pretends not to be fictional and to be starred by those actually involved in the real event being staged. That is to say, the documentary value lies in the appropriation of a real story, the semiotic activation of theatrical inputs (texts, photos, screenings, costumes, objects, testimonies) that come from that real event and, in addition, the fact that it is played by the people involved in that event. In Argentina, the writer, theatre and film director and performer Lola Arias is the one who feels and recognizes herself as part of the lineage of the 20th century’s German theatre and, especially, of Weiss’ theatre. This article will analyze the presence of documentary theatre in her work, but, especially, in Campo minado (2016- 2020), a play that brings together three Argentine veterans and three British marines on stage to narrate and document the Malvinas War’s experience and traumatic effects Dentro de los estudios teatrales la categoría teórica denominada «teatro documento» (Weiss [1968] 2017; Vezzero, 2017; Pavis, 1998) es una de las formas dramáticas contemporáneas menos indagadas. Habitualmente el estudio del teatro documento se inscribe dentro de una noción más general llamada «teatro político» (Piscator, 1976; Brecht [1948] 1983; Badiou, 2011, 2015; Pavis, 1998; Irazabal, 2004). Si bien puede considerarse que todo teatro en sí mismo es político, sin embargo, la noción teórica formulada por Erwin Piscator data de las primeras décadas del siglo XX. Piscator trasladó la teoría marxista al teatro y recogió sus ideas y experiencias en su libro Teatro Político publicado en 1929, allí el autor dedica todo un capítulo a las obras documentales, las cuales liga indefectiblemente a la filosofía del materialismo histórico. El teatro documento o documental puede considerarse un deslinde o una deriva de esta noción, al crearse en el linde entre la ficción y la realidad y trabajar especialmente con las ideas de archivo y documento o fuente primaria. Es también en Alemania donde se logra formalizar esta experiencia creativa sobre todo a partir del teatro y las ideas teóricas de Peter Weiss (1968). El teatro documento se enfrenta a la clásica definición de teatro dramático, confundido muchas veces con la denominación de docudrama, teatro histórico o biodrama, el teatro documental pretende no ser ficcional y además estar protagonizado por los propios involucrados en el acontecimiento que se teatraliza. Es decir, el valor documental radica en la apropiación de una historia real, en la activación semiótica de insumos teatrales (textos, fotos, proyecciones, vestuario, objetos, testimonios) que provienen de ese acontecimiento de la realidad y, además, en que es actuado por personas involucradas en ese hecho. En la Argentina, quien se siente y se reconoce inscripta en el linaje del teatro alemán de siglo XX y especialmente del de Weiss es la escritora, directora de teatro y cine y performer Lola Arias. En el presente artículo, analizaremos la presencia del teatro documental en su obra, pero especialmente en Campo minado (2016- 2020), obra que reúne en escena a tres veteranos argentinos y a tres marines ingleses para narrar y documentar la experiencia y los efectos traumáticos de la guerra de Malvinas. Universidad Nacional del Litoral 2021-11-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html text/xml application/zip https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/HilodelaFabula/article/view/10858 10.14409/hf.19.22.e0007 El Hilo de la Fabula; Núm. 22 (19): El hilo de la fábula; e0007 El Hilo de la Fabula; No. 22 (19): El hilo de la fábula; e0007 2362-5651 1667-7900 10.14409/hf.19.22 spa https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/HilodelaFabula/article/view/10858/14609 https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/HilodelaFabula/article/view/10858/14610 https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/HilodelaFabula/article/view/10858/14611 https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/HilodelaFabula/article/view/10858/14612 Derechos de autor 2021 El Hilo de la Fabula |