The First Decades of Argentinian Radiodrama: Disputes in the Construction of an Acting Identity

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Radio drama was a phenomenon which revolutionised the cultural field in Argentina’s 1930s. Artists of all sorts converged, expanding the labour field in a context of economic crisis and social unrest. However, during the 1930s and part of the 1940s, radio drama was roundly criticised, thus showing s...

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Autor principal: Misevich, Valeria Andrea
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2020
Materias:
Cultural Industries
Intellectual Field
Labor Union
Acting
Radio Drama
industrias culturales
campo intelectual
sindicato
actuación
radioteatro
Acceso en línea:http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/8247
Aporte de:
telondefondo de Universidad de Buenos Aires
id I28-R267-article-8247
record_format ojs
spelling I28-R267-article-82472020-12-20T14:50:32Z The First Decades of Argentinian Radiodrama: Disputes in the Construction of an Acting Identity Las primeras décadas del radioteatro argentino: disputas en la construcción de la identidad actoral Misevich, Valeria Andrea Cultural Industries Intellectual Field Labor Union Acting Radio Drama industrias culturales campo intelectual sindicato actuación radioteatro Radio drama was a phenomenon which revolutionised the cultural field in Argentina’s 1930s. Artists of all sorts converged, expanding the labour field in a context of economic crisis and social unrest. However, during the 1930s and part of the 1940s, radio drama was roundly criticised, thus showing society’s deeply rooted conceptions regarding art, culture, the role of the media and artists. We ask ourselves, then, what happened with the legitimacy and  the professionalization of artists in a period of cultural explosion? How did their unions face the radio drama phenomenon? Following theoretical concepts developed by Mauro  (2014a, 2014b, 2018a, 2018b), Pellettieri (2002) and Bourdieu (1967, 2000) and analising the discourses that circulated through Argentina’s cultural field of the time, this paper aims to shed light not only on the prejudice and obstacles faced by acting professionals at a turning point in their history as a collective, but also on the projection that some conceptions still have, acting against cultural workers’ self-perception. El radioteatro fue el fenómeno que revolucionó el campo cultural en los años 30 en Argentina. Confluyeron en él artistas de toda índole, ampliando el mercado laboral en un contexto de crisis económica y alta conflictividad social. Ahora bien, durante la década del 30 y parte del 40, el radioteatro cosechó un sinnúmero de críticas que visibilizaron las concepciones arraigadas en la sociedad sobre el arte, la cultura, el rol de los medios y los artistas.  Nos preguntamos, entonces, ¿qué sucedía con la legitimidad y la profesionalización de estos artistas en un período de explosión de industrias culturales? ¿Cómo se posicionaron los sindicatos que los representaban frente al fenómeno radioteatral? Apelando a conceptos teóricos desarrollados por Mauro (2014a, 2014b, 2018a, 2018b), Pellettieri (2002) y Bourdieu (1967, 2000) y analizando los discursos que circularon en el campo cultural argentino del momento, este trabajo se propone dar cuenta no sólo de los prejuicios y las dificultades que afrontaron lxs profesionales de la actuación en un momento crucial de su propia historia como colectivo, sino también la proyección que ciertas concepciones aún poseen, atentando contra la autopercepción de lxs mismxs en tanto trabajadorxs de la cultura. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2020-07-12 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/8247 10.34096/tdf.n31.8247 telondefondo. Revista de Teoría y Crítica Teatral; Núm. 31 (2020) 1669-6301 spa http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/8247/7248 http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/8247/7249 Derechos de autor 2020 telondefondo. Revista de Teoría y Crítica Teatral https://creativecommons.org/licenses/by-sa/4.0
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-267
container_title_str telondefondo
language Español
format Artículo revista
topic Cultural Industries
Intellectual Field
Labor Union
Acting
Radio Drama
industrias culturales
campo intelectual
sindicato
actuación
radioteatro
spellingShingle Cultural Industries
Intellectual Field
Labor Union
Acting
Radio Drama
industrias culturales
campo intelectual
sindicato
actuación
radioteatro
Misevich, Valeria Andrea
The First Decades of Argentinian Radiodrama: Disputes in the Construction of an Acting Identity
topic_facet Cultural Industries
Intellectual Field
Labor Union
Acting
Radio Drama
industrias culturales
campo intelectual
sindicato
actuación
radioteatro
author Misevich, Valeria Andrea
author_facet Misevich, Valeria Andrea
author_sort Misevich, Valeria Andrea
title The First Decades of Argentinian Radiodrama: Disputes in the Construction of an Acting Identity
title_short The First Decades of Argentinian Radiodrama: Disputes in the Construction of an Acting Identity
title_full The First Decades of Argentinian Radiodrama: Disputes in the Construction of an Acting Identity
title_fullStr The First Decades of Argentinian Radiodrama: Disputes in the Construction of an Acting Identity
title_full_unstemmed The First Decades of Argentinian Radiodrama: Disputes in the Construction of an Acting Identity
title_sort first decades of argentinian radiodrama: disputes in the construction of an acting identity
description Radio drama was a phenomenon which revolutionised the cultural field in Argentina’s 1930s. Artists of all sorts converged, expanding the labour field in a context of economic crisis and social unrest. However, during the 1930s and part of the 1940s, radio drama was roundly criticised, thus showing society’s deeply rooted conceptions regarding art, culture, the role of the media and artists. We ask ourselves, then, what happened with the legitimacy and  the professionalization of artists in a period of cultural explosion? How did their unions face the radio drama phenomenon? Following theoretical concepts developed by Mauro  (2014a, 2014b, 2018a, 2018b), Pellettieri (2002) and Bourdieu (1967, 2000) and analising the discourses that circulated through Argentina’s cultural field of the time, this paper aims to shed light not only on the prejudice and obstacles faced by acting professionals at a turning point in their history as a collective, but also on the projection that some conceptions still have, acting against cultural workers’ self-perception.
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2020
url http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/8247
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first_indexed 2023-06-27T21:34:41Z
last_indexed 2023-06-27T21:34:41Z
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