THE REPORT OF THE REAL TRAUMATIC WAR IN CAMPO MINADO, BY LOLA ARIAS: SILENCES, PAUSES AND THE REFUSAL TO REPRESENT TORTURE

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DOI:

https://doi.org/10.22456/2236-3254.104249

Abstract

The critical analysis hypothesis on Lola Arias’s Minefield presented in this article is that the traumatic war real Freud (2010), Lacan (2002), Jacques (2012) is shown by the performance by a bordering report expressed in the silences, in the breaks and in the refuse to represent torture. In this sense, the analysis takes the side of the critics that analyze the performance considering the scenic creating project of the encounter of the Falklands War veterans Sosa (2017), Perera (2017), Verzero (2018) and opposite the close reading of the scenes as spectacle made by Cornago (2017) e Small (2019).

 

Keywords

Non-professional Actors. Falklands War. Minefield. Documentary Theatre. Theatre of the Real.

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Author Biography

Giorgio Zimann Gislon, Doutorando no PPGT-UDESC, bolsista CAPES-FAPESC.

Doutorando em Teatro no PPGT-UDESC com projeto de pesquisa sobre o teatro com não atores e dispositivos de interação dos grupos Rimini Protokoll, Lola Arias, Cia Hiato, opovoempé e ERRO Grupo, sob orientação do prof. Dr. Stephan Baumgartel. Realizo a atividade de extensão "Laboratório de escritas teatrais", parte do projeto "Encontro com o dramaturgo". Possuo Mestrado em em Artes em Estudos Latino-Americanos - Leiden University (2013) e Mestrado em Literatura pela Universidade Federal de Santa Catarina (2015)

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Published

2021-04-20

How to Cite

Gislon, G. Z. (2021). THE REPORT OF THE REAL TRAUMATIC WAR IN CAMPO MINADO, BY LOLA ARIAS: SILENCES, PAUSES AND THE REFUSAL TO REPRESENT TORTURE. Revista Cena, (33), 64–73. https://doi.org/10.22456/2236-3254.104249

Issue

No. 33 (2021): Dossiê Arte e Trauma

Section

Artigos

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