By Ana Elena Puga
Reminiscence, Allegory, and Testimony in South American Theater traces the shaping of a resistant id in reminiscence, its direct expression in testimony, and its oblique elaboration in other forms of allegory. every one bankruptcy focuses on one modern playwright (or one collaborative group, when it comes to Brazil) from each one of 4 Southern Cone nations and compares the playwrights’ aesthetic options for subverting ideologies of dictatorship: Carlos Manuel Varela (memory in Uruguay), Juan Radrig?n (testimony in Chile), Augusto Boal and his co-author Gianfrancesco Guarnieri (historical allegory in Brazil), Griselda Gambaro (abstract allegory in Argentina).
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Extra info for Memory, Allegory, and Testimony in South American Theater: Upstaging Dictatorship (Routledge Advances in Theatre and Performance Studies)
Sample text
Ricoeur focuses on the memory of atrocities when he speaks of the duty to remember as “an imperative directed towards the future, which is exactly the opposite side of the traumatic character of the humiliations and wounds of history. It is a duty, thus, to tell” (Memory and Forgetting 10). Meaningful speech (the duty to tell) relies upon memory, even at the most basic level, as Alfonso shows when he can no longer recall enough of what he has just said to proceed to the next syllable. And conversely, speech can jog memory and spur resistance to authority.
After the dictatorship, looking back at his drama of that era, Varela writes that he tried to hold up a “fractured mirror” that would oblige the spectators to piece together the meaning of the work. He resorts to this style of writing primarily to elude censorship, but the result is also a break with realism that proves to be aesthetically adventurous: En Uruguay, durante la dictadura military, el escritor teatral no pudo seguir ejerciendo su tarea de comunicador, de acuerdo con la tradición. ” Fue entonces que los criticos comenzaron a señalar elementos caracterizadores de las obras de este período, detectatron un “realismo 36 Memory, Allegory, and Testimony in South American Theater alucinado,” una creciente simbología del teatro uruguayo.
The sudden appearance of a naked, obviously tortured and mutilated man, who turns out to be Paco, Alfonso’s former factory employee, forces the couple into grotesquely funny attempts to minimize and rationalize the situation. As the horrors accumulate—Paco dies, other bodies surface, the rescue the couple awaits proves illusory, and they suffer a total loss of memory—the comedic veneer cracks, revealing more and more ugliness behind it. Black humor, apparent “absurdism,” and touches of “surrealism” serve to mask Varela’s staging of the confl ict between the lure of amnesia and the ethical imperative to remember.