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. (2020). Archivi "vivi" e post-memorie frammentate, mediate, in divenire. Mi vida después di Lola Arias. STRATAGEMMI, 41, 24-46.

Archivi "vivi" e post-memorie frammentate, mediate, in divenire. Mi vida después di Lola Arias

Susanna Nanni
2020-01-01

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.
Nanni, S. (2020). Archivi "vivi" e post-memorie frammentate, mediate, in divenire. Mi vida después di Lola Arias. STRATAGEMMI, 41, 24-46.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11590/391662
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