The Body and the Theatre as Territories for Representation of the Real in Museo Miguel Ángel Boezzio (1998) by Federico León

As a space of the gaze, the theater articulates an optic through which it observes the world. Thanks to the convivio and its particular way of producing thought, dramatic art constitutes a unique means to activate memory as work in the context of the Argentine Post-dictatorship. Although the relatio...

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Autor principal: Dubatti, Ricardo
Formato: Artículo revista
Lenguaje:Español
Publicado: Estudios e investigaciones 2022
Acceso en línea:http://revistascientificas.filo.uba.ar/index.php/payro/article/view/11778
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Estudios e investigaciones del Instituto de Teoría e Historia del Arte Julio Payró de Universidad de Buenos Aires
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spelling I28-R251-article-117782022-12-30T13:08:16Z The Body and the Theatre as Territories for Representation of the Real in Museo Miguel Ángel Boezzio (1998) by Federico León Cuerpo y teatro como territorios para representar lo real: Museo Miguel Ángel Boezzio (1998) de Federico León Dubatti, Ricardo As a space of the gaze, the theater articulates an optic through which it observes the world. Thanks to the convivio and its particular way of producing thought, dramatic art constitutes a unique means to activate memory as work in the context of the Argentine Post-dictatorship. Although the relationship between theater and dictatorship has been docu-mented, the Malvinas War has not received the same attention. The Malvinas War (April 2 – June 14, 1982) marks a turning point in history, but it cannot be reduced to the outcome of the combat, so it continues to happen as a trauma. For this reason, it is relevant to attend to the Malvinas War from the point of view of the theater: the analysis of the dramatic texts contributes to the understanding of the appropriations and also how the facts of the war have been viewed from and through the theatrical body. In this article I focus on the case of Museo Miguel Ángel Boezzio (1998), by Federico León, in order to examine how it produces a novel reading about the Malvinas War based on the scenic presence of a real ex-combatant on stage. Considering this figure and how it problematizes the processes of memory, fictionalization and reception through the notion of “museum”, I affirm that it is a poetics of the real, especially after examining the theoretical perspective of José A. Sánchez. Como espacio de la mirada, el teatro articula una óptica a través de la cual observa el mundo. Gracias al convivio y a su particular modo de producir pensamiento el arte dramático constituye un medio único para activar la memoria como trabajo en el contexto de la Posdictadura Argentina. Si bien la relación entre teatro y dictadura ha sido documentada, la Guerra de Malvinas no ha contado con la misma atención. La Guerra de Malvinas (2 de abril – 14 de junio de 1982) marca un punto de quiebre en la historia, pero no puede reducirse al resultado del combate, por lo que continúa aconteciendo como trauma. Por tal motivo es relevante atender la Guerra de Malvinas desde el teatro: el análisis de los textos dramáticos aporta a la comprensión de las apropiaciones y también cómo han sido mirados los hechos de la guerra desde y a través del cuerpo teatral. En este artículo focalizo en el caso de Museo Miguel Ángel Boezzio (1998), de Federico León con el fin de examinar cómo produce una lectura novedosa sobre la Guerra de Malvinas a partir de la presencia escénica de un excombatiente real en escena. Considerando esta figura y cómo problematiza los procesos de memoria, ficcionalización y recepción a través de la noción de «museo», afirmo que se trata de una poética de lo real, especialmente tras examinar la perspectiva teórica de José A. Sánchez. Estudios e investigaciones 2022-09-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo revisado por pares application/pdf http://revistascientificas.filo.uba.ar/index.php/payro/article/view/11778 Estudios e investigaciones; Vol. 14 (2019); 65-78 2618-4230 spa http://revistascientificas.filo.uba.ar/index.php/payro/article/view/11778/10449
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-251
container_title_str Estudios e investigaciones del Instituto de Teoría e Historia del Arte Julio Payró
language Español
format Artículo revista
author Dubatti, Ricardo
spellingShingle Dubatti, Ricardo
The Body and the Theatre as Territories for Representation of the Real in Museo Miguel Ángel Boezzio (1998) by Federico León
author_facet Dubatti, Ricardo
author_sort Dubatti, Ricardo
title The Body and the Theatre as Territories for Representation of the Real in Museo Miguel Ángel Boezzio (1998) by Federico León
title_short The Body and the Theatre as Territories for Representation of the Real in Museo Miguel Ángel Boezzio (1998) by Federico León
title_full The Body and the Theatre as Territories for Representation of the Real in Museo Miguel Ángel Boezzio (1998) by Federico León
title_fullStr The Body and the Theatre as Territories for Representation of the Real in Museo Miguel Ángel Boezzio (1998) by Federico León
title_full_unstemmed The Body and the Theatre as Territories for Representation of the Real in Museo Miguel Ángel Boezzio (1998) by Federico León
title_sort body and the theatre as territories for representation of the real in museo miguel ángel boezzio (1998) by federico león
description As a space of the gaze, the theater articulates an optic through which it observes the world. Thanks to the convivio and its particular way of producing thought, dramatic art constitutes a unique means to activate memory as work in the context of the Argentine Post-dictatorship. Although the relationship between theater and dictatorship has been docu-mented, the Malvinas War has not received the same attention. The Malvinas War (April 2 – June 14, 1982) marks a turning point in history, but it cannot be reduced to the outcome of the combat, so it continues to happen as a trauma. For this reason, it is relevant to attend to the Malvinas War from the point of view of the theater: the analysis of the dramatic texts contributes to the understanding of the appropriations and also how the facts of the war have been viewed from and through the theatrical body. In this article I focus on the case of Museo Miguel Ángel Boezzio (1998), by Federico León, in order to examine how it produces a novel reading about the Malvinas War based on the scenic presence of a real ex-combatant on stage. Considering this figure and how it problematizes the processes of memory, fictionalization and reception through the notion of “museum”, I affirm that it is a poetics of the real, especially after examining the theoretical perspective of José A. Sánchez.
publisher Estudios e investigaciones
publishDate 2022
url http://revistascientificas.filo.uba.ar/index.php/payro/article/view/11778
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