Las representaciones teatrales de la memoria, el trauma y el olvido en la trilogía del exilio de Arístides Vargas [Dossier Literatura Ecuatoriana (Siglos XX-XXI): otros desciframientos (Ponencias presentadas en el Congreso de la Asociación de Ecuatorianistas, Quito, 20-21 de julio de 2015)]
The Ecuadorian-Argentine dramatist and actor, Aristides Vargas, represents, in his trilogy on exile Flores arrancadas a la niebla (1995), Nuestra señora de las nubes (2000) y Donde el viento hace buñuelos (2004), the (non) memory that results from exile through the (non) encounters of the protagonis...
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| Formato: | article |
| Idioma: | spa |
| Publicado em: |
2016
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| Acesso em linha: | http://hdl.handle.net/10644/6804 |
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Adicionar Tag | Resumo: | The Ecuadorian-Argentine dramatist and actor, Aristides Vargas, represents, in his trilogy on exile Flores arrancadas a la niebla (1995), Nuestra señora de las nubes (2000) y Donde el viento hace buñuelos (2004), the (non) memory that results from exile through the (non) encounters of the protagonists in ectopic and illusory spaces, as well as indeterminate and interspersed times. Vargas uses the absurd genre, the aesthetics of surrealism, as well as enigmatic and detached lyrical dialogue, to emphasize the trauma associated with various kinds of exile, among which are: that of the woman, the defenseless, that of poverty, that of politics, that of violence, that of death, and that of omission. This essay also examines the ways in which some theories about the literature of exile, the dramaturgy of memory, post-traumatic stress disorder, as well as counter-memory and selective forgetting, are reflected in the theater of Vargas. |
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