Book contents
- A History of Argentine Literature
- A History of Argentine Literature
- Copyright page
- Contents
- Figures
- Contributors
- Editors’ Acknowledgments
- Introduction
- Part I Literary Dates
- Part II Critical Inroads
- Part III Literary Names
- Chapter 21 Sarmiento: Politics, Culture, and Spectacle
- Chapter 22 The Mansilla Siblings: A Story in Syntony
- Chapter 23 Martín Fierro: Subaltern Voices
- Chapter 24 Borges and Argentine Literature: A Detour around the World
- Chapter 25 Roberto Arlt
- Chapter 26 The Ocampo Sisters
- Chapter 27 Alfonsina Storni and Alejandra Pizarnik
- Chapter 28 Displacement and Transfer in Julio Cortázar’s Todos los fuegos el fuego
- Chapter 29 Manuel Puig’s Circuit Bending: Literary Listening against Surveillance
- Chapter 30 Operation Massacre: Dangerous Journalism
- Chapter 31 The Politics of the Poem: From Gelman to Perlongher
- Chapter 32 Scenes from Postmodern Life: Literary Interventions in the Public Sphere
- Chapter 33 Griselda Gambaro and Beyond: A “Dermography” of Contemporary Women’s Theater and Performance
- Chapter 34 César Aira and the Art of Invention
- Index
- References
Chapter 33 - Griselda Gambaro and Beyond: A “Dermography” of Contemporary Women’s Theater and Performance
from Part III - Literary Names
Published online by Cambridge University Press: 09 May 2024
Book contents
- A History of Argentine Literature
- A History of Argentine Literature
- Copyright page
- Contents
- Figures
- Contributors
- Editors’ Acknowledgments
- Introduction
- Part I Literary Dates
- Part II Critical Inroads
- Part III Literary Names
- Chapter 21 Sarmiento: Politics, Culture, and Spectacle
- Chapter 22 The Mansilla Siblings: A Story in Syntony
- Chapter 23 Martín Fierro: Subaltern Voices
- Chapter 24 Borges and Argentine Literature: A Detour around the World
- Chapter 25 Roberto Arlt
- Chapter 26 The Ocampo Sisters
- Chapter 27 Alfonsina Storni and Alejandra Pizarnik
- Chapter 28 Displacement and Transfer in Julio Cortázar’s Todos los fuegos el fuego
- Chapter 29 Manuel Puig’s Circuit Bending: Literary Listening against Surveillance
- Chapter 30 Operation Massacre: Dangerous Journalism
- Chapter 31 The Politics of the Poem: From Gelman to Perlongher
- Chapter 32 Scenes from Postmodern Life: Literary Interventions in the Public Sphere
- Chapter 33 Griselda Gambaro and Beyond: A “Dermography” of Contemporary Women’s Theater and Performance
- Chapter 34 César Aira and the Art of Invention
- Index
- References
Summary
This chapter looks at politically defiant women’s theatre and performance in Argentina from the 1960s onward though the concept of the skin. It pays special attention to the varying ways in which women in theater and performance have engaged with the ever-pressing and pervasive issues of gender-based violence, power, the body, family, memory, and resistance. Drawing upon Griselda Gambaro’s visionary Información para extranjeros (1971/1987), we suggest multidirectional dialogues with the process of state-led terror and forced disappearance perpetrated during the 1976–83 military dictatorship. While discussing varying traditions of contestation and rebellion across feminist theater and performance, we build this dermography of contemporary women’s theatre and performance in which Piel de Lava (Skin of Lava) is not only the name of a group but the symbol of a new form of politically committed, “post-traumatic” feminist performance. In those terms, the chapter discusses some of the most audacious and innovative recent feminist pieces, including Lola Arias’ installations suggesting implicated forms of spectatorship, Romina Paula’s singular approach to motherhood through desiring mothers and dissident daughters, as well as the alternative forms of staging gender disobedience proposed by Albertina Carri and Analía Couceyro in their rereading of Tadeys (2019).
- Type
- Chapter
- Information
- A History of Argentine Literature , pp. 520 - 535Publisher: Cambridge University PressPrint publication year: 2024
References
Works Cited
Ahmed, Sara, and Stacey, Jackie, eds. Thinking Through the Skin. New York: Routledge, 2001.Google Scholar
Arendt, Hannah. Eichmann in Jerusalem: A Report on the Banality of Evil. London: Penguin, 2022.Google Scholar
Arias, Lola. “Mi vida después.” Mi vida después y otros textos, 18–66. Buenos Aires: Reservoir Books, 2016.Google Scholar
Arias, Lola. Audición para una manifestación. Performance, 2014. Lola Arias website, https://lolaarias.com/es/audition-for-a-demonstration/Google Scholar
Arias, Lola. Mucamas. Performance, 2010. Lola Arias website, https://lolaarias.com/es/maids/Google Scholar
Arnés, Laura A. “Querer es no poder: A propósito de lo impenetrable de Griselda Gambaro.” Anclajes 19.2 (2005): 1–11.CrossRefGoogle Scholar
Blejmar, Jordana, and Sosa, Cecilia, eds. Introduction to Latin American Theater Review 50.2 (2017): 9–21.Google Scholar
Blejmar, Jordana, Page, Philippa J., and Sosa, Cecilia, eds. Entre/telones y pantallas. Buenos Aires: Libraria, 2020.Google Scholar
Butler, Judith. Antigone’s Claim: Kinship between Life and Death. New York: Columbia University Press, 2000.Google Scholar
Butler, Judith. Notes Toward a Performative Theory of Assembly. Cambridge, MA: Harvard University Press, 2015.CrossRefGoogle Scholar
Calveiro, Pilar. “Spatialities of Exception.” Space and the Memories of Violence: Landscapes of Erasure, Disappearance and Exception, ed. Schindel, E. and Colombo, P., 205–18. London: Palgrave Macmillan, 2014.Google Scholar
Calveiro, Pilar. Delgado, Maria. Paper presented at the International Federation for Theatre Research (IFTR) Galway 2021: Theatre Ecologies: Environments, Sustainability and Politics, July 13, 2021.Google Scholar
Escofet, Cristina. Tres obras de teatro de Cristina Escofet: Las que aman hasta morir; Eternity Class; ¿Qué pasó con Betty Davis? Buenos Aires: Editorial Nueva Generación, 2001.Google Scholar
Feitlowitz, Marguerite. “Crisis, Terror, Disappearance: The Theater of Griselda Gambaro.” Theater 21.3 (1990): 34–38.CrossRefGoogle Scholar
Feitlowitz, Marguerite. Information for Foreigners: Three Plays by Griselda Gambaro, ed., trans., and introduction Marguerite Feitlowitz; afterword Diana Taylor. Evanston, IL: Northwestern University Press, 1992.Google Scholar
Foster, David W. “The Texture of Dramatic Action in the Plays of Griselda Gambaro.” Hispanic Journal 1.2 (1980): 57–66.Google Scholar
Gago, Verónica. Feminist International: How to Change Everything, trans. Mason-Deese, Liz. London and New York: Verso, 2020.Google Scholar
Gambaro, Griselda. Teatro 1. vols. 1–7. Buenos Aires: Ediciones de la Flor, 1990–2004.Google Scholar
Glickman, Nora. “De ‘La malasangre’ a ‘De profesión maternal’: Griselda Gambaro y el incómodo vaivén entre hija y madre.” Revista Hispánica Moderna 55.2 (2002): 435–46.Google Scholar
Graham-Jones, Jean. Exorcising History: Argentine Theater under Dictatorship. London: Associated University Presses, 2000.Google Scholar
Graham-Jones, Jean. Lola Arias: Re-enacting Life. Aberystwyth: Performance Research Books, 2019.Google Scholar
López, María P. Not One Less: Mourning, Disobedience and Desire. Cambridge: Polity Press, 2020.Google Scholar
López, Seoane, Mariano. Tadeys. “Un teatro de la crueldad.” Entre/telones y pantallas, ed. Blejmar, J., Page, P., and Sosa, C., 238–43. Buenos Aires: Libraria, 2020.Google Scholar
Page, Philippa. Politics and Performance in Post-Dictatorship Argentine Film and Theatre. Woodbridge: Tamesis, 2011.Google Scholar
Paula, Romina. Fauna. Tres Obras. Fauna, El tiempo todo entero, Algo de ruido hace. Buenos Aires: Entropía, 2003.Google Scholar
Pottlitzer, Joanne. “Griselda Gambaro’s Theatre of Violence.” PAJ: A Journal of Performance and Art 26.1 (2004): 103–05.Google Scholar
Prosser, Jay. “Skin Memories.” Thinking Through the Skin, ed. Ahmed, S. and Stacey, J., 52–68. New York: Routledge, 2001.Google Scholar
Roffé, Reina. “Entrevista a Griselda Gambaro.” Cuadernos Hispanoamericanos 588 (1998): 111–24.Google Scholar
Rothberg, Michael. The Implicated Subject: Beyond Victims and Perpetrators. Stanford: Stanford University Press, 2019.Google Scholar
Segato, Rita. “Femigenocidio y feminicidio: Una propuesta de tipificación.” Herramienta 49 (2012). https://biblat.unam.mx/hevila/HerramientaBuenosAires/2012/no49/10.pdfGoogle Scholar
Selva Cabral, Camila. “Escribís cuando necesitás sacártelo del cuerpo.” Interview with Romina Paula, Agencia de Noticias Ciencias de la Comunicación (ANCCOM), October 5, 2016. http://anccom.sociales.uba.ar/2016/10/05/escribis-cuando-necesitas-sacartelo-del-cuerpo/#.V_Uv-pN96RuGoogle Scholar
Seoane, Ana. “Entretien avec Griselda Gambaro.” Caravelle. Cahiers du monde hispanique et luso-brésilien, 40 (1983): 163–165.Google Scholar
Sosa, Cecilia. “Lola Arias.” 50 Key Figures in Latinx and Latin American Theatre, ed. Hernández, Paola and Santana, Analola. London: Routledge, 2021.Google Scholar
Sosa, Cecilia. Queering Acts of Mourning in the Aftermath of Argentina’s Dictatorship: The Performances of Blood. Woodbridge, Suffolk: Tamesis, 2014.CrossRefGoogle Scholar
Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press, 2003.Google Scholar
Taylor, Diana. Disappearing Acts: Spectacles of Gender and Nationalism in Argentina’s “Dirty War.” Durham, NC: Duke University Press, 1997.Google Scholar
Taylor, Diana. Theatre of Crisis: Drama and Politics in Latin America. Lexington: University Press of Kentucky, 1992.Google Scholar
Werth, Brenda. “Griselda Gambaro.” 50 Key Figures in Latinx and Latin American Theatre, ed. Hernández, Paola and Santana, Analola, ch. 14. London: Routledge, 2021.Google Scholar
Werth, Brenda. Theatre, Performance and Memory Politics in Argentina. London: Palgrave, 2010.CrossRefGoogle Scholar