The play My Life After (2009), by the Argentinian director Lola Arias (1976), suggests an original, open and exegetical reflection on the multiple possibilities of representation of the country's traumatic recent history, through the performance of protagonists, subjects and objects of dramatization, whose origin represents a wide political-social range. They are the sons and daughters of desaparecidos, exiles and guerrillas, but also of people unrelated to politics, an ex- priest and an intelligence officer. Specifically, these pages seek to investigate, on the one hand, the moral, social and cultural questions related to indirect and hyper-mediated memory, the legitimacy and authority of post-memorial discourses in the representation of the recent past and. On the other hand, through the study of the dramaturgical and scenic features and elements chosen by Arias, it seeks to observe how the “new documentary theatre” employs the paradigm of post-memory, recontextualizing it within a fragmentary, subjective, collective and intertextual dramatic construction.

Nanni, S. (2019). “Post-memorias entre pasado y futuro: Mi vida después, de Lola Arias”. ORILLAS RIVISTA D'ISPANISTICA, 407-425.

“Post-memorias entre pasado y futuro: Mi vida después, de Lola Arias”

Susanna Nanni
2019-01-01

Abstract

The play My Life After (2009), by the Argentinian director Lola Arias (1976), suggests an original, open and exegetical reflection on the multiple possibilities of representation of the country's traumatic recent history, through the performance of protagonists, subjects and objects of dramatization, whose origin represents a wide political-social range. They are the sons and daughters of desaparecidos, exiles and guerrillas, but also of people unrelated to politics, an ex- priest and an intelligence officer. Specifically, these pages seek to investigate, on the one hand, the moral, social and cultural questions related to indirect and hyper-mediated memory, the legitimacy and authority of post-memorial discourses in the representation of the recent past and. On the other hand, through the study of the dramaturgical and scenic features and elements chosen by Arias, it seeks to observe how the “new documentary theatre” employs the paradigm of post-memory, recontextualizing it within a fragmentary, subjective, collective and intertextual dramatic construction.
2019
La obra teatral Mi vida después (2009), de la directora argentina Lola Arias (1976), sugiere una reflexión original, abierta y exegética, sobre las múltiples posibilidades de representación de la traumática historia reciente del país, mediante el performance de protagonistas, sujetos y objetos de la dramatización, cuya procedencia conforma un amplio abanico político-social: son hijos de desaparecidos, de exiliados y de guerrilleros, pero también de personas sin vinculación con la política, de un ex-cura y de un policía de inteligencia. Específicamente, en estas páginas se pretende indagar, por un lado, las cuestiones morales, sociales y culturales relativas a la memoria indirecta e hipermediada, a la legitimidad y autoridad de los discursos posmemoriales en la representación del pasado reciente y por otro lado, a través del estudio de los rasgos y elementos dramatúrgicos y escénicos elegidos por Arias, se procura observar cómo el “nuevo teatro documento” emplea, recontextualizándolo, el paradigma de la posmemoria para una construcción dramática fragmentaria, subjetiva, colectiva e intertextual.
Nanni, S. (2019). “Post-memorias entre pasado y futuro: Mi vida después, de Lola Arias”. ORILLAS RIVISTA D'ISPANISTICA, 407-425.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11590/354905
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