Article

Recorrer y Hacer Memoria: Interacción Entre Territorio y Públicos a través de Dispositivos Mediales

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Abstract

El presente artículo analiza las obras teatrales Cómo se recuerda un crimen (?) y Flores a quien corresponda desde la óptica de la interacción entre territorio y públicos a través de dispositivos mediales. Estrenados en Santiago de Chile en el año 2021, estos montajes se caracterizan por generar experiencias escénicas que se instalan en una zona híbrida entre arte y activismo, la que se ha revisitado como potencial político no institucionalizado desde el 18 de octubre de 2019. Se propone una lectura de ambos procesos a partir del concepto de evento teatral acuñado por Willmar Sauter, en diálogo con la noción de acontecimiento de Erika Fischer-Lichte.

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"The Theatrical Event is promising and useful, perhaps the most useful conceptualization of the theatrical process available. o --Janelle Reinelt, professor of theatre and dance, University of California, Davis, and former editor of Theatre Journal The Theatrical Event discusses the objectives of theatre studies by focusing on the communicative encounter between performer and spectator--the theatrical event. A theatrical event includes the presentation of a performance and the attention of an audience; in this sense, every performance--on stage or in the street, historical or contemporary--that is watched by an audience is a theatrical event. The concept underlines the "eventnesso of all encounters between performers and spectators. In the first part of the book, Willmar Sauter presents various models for the analysis of theatrical events, examining the relationship between performance and perception and the interaction between the performative event and its context. Using examples from ancient and recent theatre history and discussing traditional and nontraditional approaches to theatre theory, he builds a paradigmatic change in the concept of theatre. Constructs such as playing culture (as opposed to written culture), theatrical communication, theatricality, and theatre as a model of cultural event are brought into focus and their methodological advantages explored. The second part of the book uses the theoretical groundwork of the first part to enhance a variety of topics, including such legends as Sarah Bernhardt and other historical phenomena such as a Swedish Renaissance play, Strindberg's ideas on acting, the question of ethnicity in the political theatre of the 1930s, and critical writings on contemporary performances. Sauter examines how Robert Lepage's staging of A Dream Play is viewed by critics and scholars and analyzes Dario Fo's intercultural transfer to outdoor performances in Stockholm and the unusual sensationalism of Strindberg's Miss Julie. Willmar Sauter is professor of theatre studies and dean of humanities at Stockholm University in Sweden, author of Understanding Theatre: Performance Analysis in Theory and Practice, and former president of the International Federation for Theatre Research.
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