"La Rascada", a Metatheatrical Mise-en-Scène that Connects the History of Argentine Theatre
This paper analyzes the play "La Rascada, un teatrito de las orillas", written and directed by Andrés Binetti. This strongly metatheatrical mise-en-scène stages a clear reflection on the characteristics of theatrical practice not only during the 1950s, period in which the story takes place...
| Autor principal: | |
|---|---|
| Formato: | Artículo revista |
| Lenguaje: | Español |
| Publicado: |
Facultad de Filosofía y Letras, Universidad de Buenos Aires
2017
|
| Materias: | |
| Acceso en línea: | http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/3982 |
| Aporte de: |
| id |
I28-R267-article-3982 |
|---|---|
| record_format |
ojs |
| spelling |
I28-R267-article-39822023-06-27T21:30:29Z "La Rascada", a Metatheatrical Mise-en-Scène that Connects the History of Argentine Theatre "La Rascada", una puesta en escena metateatral que enlaza la historia del teatro argentino Pieniazek, Denise La Rascada Binetti metatheatricality marginality varieté sainete grotesco criollo La Rascada Binetti metateatralidad marginal varieté sainete grotesco criollo This paper analyzes the play "La Rascada, un teatrito de las orillas", written and directed by Andrés Binetti. This strongly metatheatrical mise-en-scène stages a clear reflection on the characteristics of theatrical practice not only during the 1950s, period in which the story takes place, but also in our contemporary context. Metatheatricality appears in the fictional universe, which displays the backstage of a marginal variety theatre and the realities of its artists, and it is also emphasized by the recurrent staging procedure of representation within the representation that regularly confronts the audience with the artistic numbers performed by the characters, thus reinforcing the tension between the past and the theatrical present. In "La Rascada, un teatrito de las orillas", fourteen characters embody some of the varieté stereotypes that played such a significant role in setting of the pillars of Argentinian popular theatre. The characters, topics and references to iconic actors of that time do not only point to the local popular actor through verbal reference, but also through their corporality and acting style, establishing intertextual relations that connect the play with the sainete and grotesco criollo as well. Se analizará "La Rascada, un teatrito de las orillas", escrita y dirigida por Andrés Binetti. En esta propuesta, de clara impronta metateatral, se evidencia una clara reflexión sobre la práctica escénica no sólo de los años ´50, período en el cual está ambientada, sino también sobre la actualidad de nuestra escena. La metateatralidad aparece en plano del universo ficcional, que nos presenta el detrás de escena de un marginal teatro de variedades y las historias de sus catorce personajes, pero también aparece a nivel de la puesta en escena, en un procedimiento recurrente de representación dentro la representación, que regularmente ubica a los espectadores ante los distintos números artísticos, enfatizando la tensión entre el pasado y el presente teatral. Junto a estos elementos, se señalarán también las referencias a íconos actorales de la época y a cierta modalidad de actuación que remite no solo a los estereotipos del teatro de varieté, uno de los pilares del teatro popular argentino, sino también al sainete y al grotesco criollo. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2017-12-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/3982 10.34096/tdf.n26.3982 telondefondo. Revista de Teoría y Crítica Teatral; Núm. 26 (2017); 103-110 1669-6301 spa http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/3982/3558 |
| institution |
Universidad de Buenos Aires |
| institution_str |
I-28 |
| repository_str |
R-267 |
| container_title_str |
telondefondo |
| language |
Español |
| format |
Artículo revista |
| topic |
La Rascada Binetti metatheatricality marginality varieté sainete grotesco criollo La Rascada Binetti metateatralidad marginal varieté sainete grotesco criollo |
| spellingShingle |
La Rascada Binetti metatheatricality marginality varieté sainete grotesco criollo La Rascada Binetti metateatralidad marginal varieté sainete grotesco criollo Pieniazek, Denise "La Rascada", a Metatheatrical Mise-en-Scène that Connects the History of Argentine Theatre |
| topic_facet |
La Rascada Binetti metatheatricality marginality varieté sainete grotesco criollo La Rascada Binetti metateatralidad marginal varieté sainete grotesco criollo |
| author |
Pieniazek, Denise |
| author_facet |
Pieniazek, Denise |
| author_sort |
Pieniazek, Denise |
| title |
"La Rascada", a Metatheatrical Mise-en-Scène that Connects the History of Argentine Theatre |
| title_short |
"La Rascada", a Metatheatrical Mise-en-Scène that Connects the History of Argentine Theatre |
| title_full |
"La Rascada", a Metatheatrical Mise-en-Scène that Connects the History of Argentine Theatre |
| title_fullStr |
"La Rascada", a Metatheatrical Mise-en-Scène that Connects the History of Argentine Theatre |
| title_full_unstemmed |
"La Rascada", a Metatheatrical Mise-en-Scène that Connects the History of Argentine Theatre |
| title_sort |
"la rascada", a metatheatrical mise-en-scène that connects the history of argentine theatre |
| description |
This paper analyzes the play "La Rascada, un teatrito de las orillas", written and directed by Andrés Binetti. This strongly metatheatrical mise-en-scène stages a clear reflection on the characteristics of theatrical practice not only during the 1950s, period in which the story takes place, but also in our contemporary context. Metatheatricality appears in the fictional universe, which displays the backstage of a marginal variety theatre and the realities of its artists, and it is also emphasized by the recurrent staging procedure of representation within the representation that regularly confronts the audience with the artistic numbers performed by the characters, thus reinforcing the tension between the past and the theatrical present. In "La Rascada, un teatrito de las orillas", fourteen characters embody some of the varieté stereotypes that played such a significant role in setting of the pillars of Argentinian popular theatre. The characters, topics and references to iconic actors of that time do not only point to the local popular actor through verbal reference, but also through their corporality and acting style, establishing intertextual relations that connect the play with the sainete and grotesco criollo as well. |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2017 |
| url |
http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/3982 |
| work_keys_str_mv |
AT pieniazekdenise larascadaametatheatricalmiseenscenethatconnectsthehistoryofargentinetheatre AT pieniazekdenise larascadaunapuestaenescenametateatralqueenlazalahistoriadelteatroargentino |
| first_indexed |
2023-06-27T21:34:05Z |
| last_indexed |
2023-06-27T21:34:05Z |
| _version_ |
1769893155696541696 |