On Friday I went to see MY LIFE AFTER, by Lola Arias, a carpenter (Jean Jaures 858, tel 4961-5092). Latest Features, Friday 20.30 pm.
The last Biodrama
Mentioned several times in this blog, the famous approach to programming that governed the Sarmiento Room Theatre Complex of Buenos Aires during the late nineties and early break two thousand plants, avoid or put in tension the line separating real life from fiction (and when I say "life" do not say "the" real, in generic but what is of Bio ). True stories, autobiographical narratives embodied by the actors, people "personally" attacking the concept / character mask spreads and officers swarmed through the halls and alternatives in our city for over a decade. In this blog, without going any further, suffice it to go review the past two and a half: an exogenous Biodrama as Elsa ¸ the remarkable slag, the actual Biodrama Fetish the superproduct Open House or, the most profound and accomplished, Last is a grotesque animal are a powerful symbol.
My life after , I think, the last of the Biodrama, which meets the formal expression in his follower (the remnant of the private dramatized biographies) and immerses it said no social history, its politics, its traumas. This is the final song, the apex and the end. Put in a formula: the last of the Biodrama only he had recourse to the political issue to return to politics. And that, in addition to annihilate it, it the better.
Life is a promise of death
It is (in the heyday of the Kirchner) of the lives of 70. It is therefore, during the eighties and nineties was only the horrid dark territory of death and trauma. These are the children of the dead and the perpetrators. It's us.
plot summary
I may quote: "Six actors born in the early seventies and the eighties reconstruct the youth of their parents from photos, cards, tapes, used clothing , stories, memories erased. Who were my parents when I was born? How Argentina was when I could not speak? How many versions exist about what happened when I did not exist or was so young I do not remember? Each actor does a remake of scenes from the past to understand some of the future. As a stunt of their parents, children put on their clothes and try to represent your family history. "
The confrontation taboo
writer Elsa Drucaroff conceived in the mid-90's concept of "taboo of engagement" for Argentina literature of that decade. To summarize: in the social memory post-dictatorship, any confrontation (of ideas, bodies) is a "confrontation" and, as any confrontation next to terror, refers to an armed conflict and leads to death. Thinking is confronting. Manifest. Fight. Ie to be annihilated. The terror imposed since, an impediment to active consciousness, thinking, discussing, debating, confronting, is to die.
literature, theater, movies from those years are afraid of confrontation. They can not talk, can not, for example, not even to mention the armed struggle. They can not oppose, condemn self-censorship or advance, as the final position of the camera in the film The night of the pencils , trapped behind bars where looks, hopelessly, to history.
had to be a new generation that do not bear the burden of empty gesture psicobolche, worn copy of their older colleagues, disappeared. He had started in the mid-nineties in secret (and as a collective boom after 2001) a literature that taboo to talk about standing on the other hand, noting the silence or simply by naming the nameless, without guilt or shame: Mr. parents Biographical and putative, the defeated were you. We speak from another place, another thing.
This way of talking that way to get rid of the mandate to remain, biographical finds its counterpart in the late 2000 in this excellent entry into the body of the biography: the children are already independent, and parents, and self-employed can dramatize , displaying the fiction (not trasvistiéndose militant in a corridor of Arts in the late eighties), their parents guerrillas, appropriators, priests, exhiliados, disappeared.
Post Post 2001
Images are smart. Sensitive. Funny. Flash.
The use of autobiography in a ceremony making the concert, the story in testimony and questioning. The old Biodrama looks at himself and says: "From this we needed to talk." And sets, projectors, retro feeds, its treasures, real objects, child.
has no progression. Has no "curve." However, it has strengths, from the battery outrageous that calls in "anger" power generation to the tenderness of the story of dreams. A malambo for export to Germany, Argentina is also the body of a descendant of Lugones. It is a Peronist march. Is the turtle, great character, predicted that there will be no revolution in Argentina, is the time that engulfs the life and conquer American soil six feet ...
When I die
When I die will and (like me I can think of, my way). Well see. I will be this. I can tell. Because I am. Imagine what you were, says this generation. The pleasure in my mind, do not pretend to be.
Drucaroff Elsa went to work with me. He said that those lives were marked, almost trapped by the epic tragedies of history. I do not think. Generations eighties and early nineties, pre- generations False Memory could not act (in the acting sense), could not fiction, they could not re-submit. Just dressing (transvestism, said those years Drucaroff) and wait. The new claim, dance, bend, sing, represent.
then leave the theater and live.
we.
dam camera on the inside of the night of the pencils has been abandoned.
... ... ...
PD. Laura G, what is the "quantum leap"?
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