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1
artículo
Publicado 2023
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In this article, we review three plays that have Georgette Vallejo as a character. In the last years of the present century, the life and work of César Vallejo’s wife has been the object of analysis and representations by different scriptwriters and directors, who coincide in one point: the vindication of Georgette Vallejo in the face of the vituperation she received during her lifetime.
2
artículo
Publicado 2023
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Despite the existence of performing practices that have explored the relationship between autobiography and fiction for a long time, theatrical autofiction has only recently begun to be studied. This is partly due to the particularities of theatrical communication that make traditional models of analysis, designed for narrative texts, unable to explain the dynamics of dramatic autofiction. This article proposes to rethink the theory of theatrical autofiction based on the inscription of the autofiction reading pacts in the conventions of theatrical reception. The discussion is based on the analysis of the dramaturgy of Sergio Blanco, whose work essentially explores the possibilities and limits of autofiction on stage.
3
artículo
“I Want to Depatriarchalize my Bookshelf” or the Theatrical Aesthetics in María Velasco’s Dramaturgy
Publicado 2024
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In this article, two theatrical works by one of the most recognized contemporary Spanish playwrights, María Velasco, Líbrate de las cosas hermosas que te deseo (2015) and Talaré a los hombres de sobre la faz de la tierra, both premiered and applauded by theater critics, as well as awarded, will be analyzed. The point of convergence of these two works is found in their performative aesthetic and the political and poetic perspective with which they portray the situation of their protagonists. Both dramatic proposals have an innovative and contemporary scenic aesthetic, so we will approach them through the paradigm of performative theater, liminal theater, and perfopoetry, since both are an artistic object that escapes reductionist interpretations due to their multidimensional nature. However, it will be verified that the purpose of the pieces is to portray a political structure, without...
4
artículo
Publicado 2023
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In the 1960s, a generation of dramatic authors emerged in Peru whose work displayed the socially marginalized character front and center for the first time in the local scene. The incorporation of the marginal universe led to the inclusion of new characters, spaces, problems, and, above all, new points of view that distanced themselves from the conventions that the Peruvian public and critics were accustomed to. This shift meant that authors such as Hernando Cortés, Juan Rivera, Víctor Zavala, Sara Joffré, César Vega and Grégor Díaz developed a dramaturgy where important formal, aesthetic and ideological innovations stood out. This paper provides an analysis of dramatic pieces by the aforementioned authors—mainly those of Díaz, whom we consider most representative of the group—in order to identify their influences and compare and contrast their dramaturgies.
5
artículo
Publicado 2023
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Despite the existence of performing practices that have explored the relationship between autobiography and fiction for a long time, theatrical autofiction has only recently begun to be studied. This is partly due to the particularities of theatrical communication that make traditional models of analysis, designed for narrative texts, unable to explain the dynamics of dramatic autofiction. This article proposes to rethink the theory of theatrical autofiction based on the inscription of the autofiction reading pacts in the conventions of theatrical reception. The discussion is based on the analysis of the dramaturgy of Sergio Blanco, whose work essentially explores the possibilities and limits of autofiction on stage.
6
artículo
“I Want to Depatriarchalize my Bookshelf” or the Theatrical Aesthetics in María Velasco’s Dramaturgy
Publicado 2024
Enlace
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In this article, two theatrical works by one of the most recognized contemporary Spanish playwrights, María Velasco, Líbrate de las cosas hermosas que te deseo (2015) and Talaré a los hombres de sobre la faz de la tierra, both premiered and applauded by theater critics, as well as awarded, will be analyzed. The point of convergence of these two works is found in their performative aesthetic and the political and poetic perspective with which they portray the situation of their protagonists. Both dramatic proposals have an innovative and contemporary scenic aesthetic, so we will approach them through the paradigm of performative theater, liminal theater, and perfopoetry, since both are an artistic object that escapes reductionist interpretations due to their multidimensional nature. However, it will be verified that the purpose of the pieces is to portray a political structure, without...
7
artículo
In this work, we try to study the metaphor and allegory of the disease proposed by the Peruvian playwright César De María. These tropes show the characters confronting each other in an unequal society from the body. In this way, De María’s proposal configures the corporeal from a marginal space, where the hegemonic logic can be decentered. Therefore, we formulate that theatrical works: ¡A ver, un aplauso! and Morir cantando trace a series of resistances: the disease and the pandemic. Following the approaches of Stefano Arduini on the figurative field of metaphor and Walter Benjamin on allegory, we will observe how these works, the first written and exhibited before the pandemic, already proposed the topic of illness to question a reality, that of others bodies, and the second staging in the midst of a pandemic, makes use of new technologies, and puts the topic of death on the table...
8
artículo
Publicado 2023
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Hablar del concepto de espectador es entrar en un campo amplio de la recepción. Podemos estudiar su presencia desde distintas aristas, pero normalmente es asociado al hecho escénico, pues su presencia ahí es indispensable. Sin embargo, es posible identificar una construcción del espectador desde la dramaturgia misma. Este trabajo tiene como objetivo identificar la presencia activa y una construcción específica del espectador ideal desde el texto mismo. Para ello, se analizará cuatro casos de la dramaturgia textual peruana desde una mirada semiótica y, en parte, discursiva. De esta manera, podremos notar que la construcción del espectador estará marcada no solo por la existencia de acotaciones que indiquen la ruptura de la cuarta pared, sino por el manejo de un discurso que busque comprometer de manera activa al potencial receptor de la obra, ya sea por la temática tratada o po...
9
artículo
Publicado 2025
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The theater of memory addresses key events in the development of society and its proposals increasingly seek to investigate both the topics it addresses and the way it is staged. Los héroes de mi patria belongs to this theatricality and has a very particular mechanism. In it, the author reviews his archive and, at the same time, the country's historical archive, reviewing the life of his military family. By analyzing its dramaturgy, staging and the vision of its creator, it has been possible to study the procedures that this staging proposes to address both themes, finding a dynamic mechanism where the intimate intersects with the reconstruction of official history. A form of approach that invites innovation in the theatricality of memory and its experience in the audience.
10
artículo
War has become a constant theme in Chilean drama, which in turn has been closely linked to national identity. The pulsion of war, with its institutional discursive mechanisms (historical, political, cultural, military, national), its undulations, and the difficulty of representing it on stage have resonated in Chilean dramaturgy since the consolidation of the Republic in the nineteenth century (1817) until the tremendous celebration of the national Bicentennial (2010). Our study examines how war impulse (during the pre-war, war and post-war periods) have been embedded in the war drama of the XIX century. For this, we will analyze three texts: La Camila o La patriota de Sud-América (1817), by Camilo Henríquez, La hija del Sur o La Independencia (1823), by Manuel Magallanes and Ernesto (1842), by Rafael Minvielle. In these dramas, we will observe the relationship between war and theater,...
11
artículo
Under the Battle of Miraflores (2012), is the first play written by the Peruvian playwright Paola Vicente Chocano (1977). Inspired by stories from her ancestors and taking the family as an example, Paola Vicente presents us with a drama, where fear, anxiety, anguish in the face of upcoming danger, will produce in its protagonists the courage to face sadness and disappointments, which present within the family nucleus. Set in the context of the Pacific War, it is a play where Peruvian women show their true courage to take the right actions and solve the problems they face.
12
artículo
Publicado 2025
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Historical studies are usually the main sources used to understand ideas that contribute in the creation of national imaginaries. However, the arts can also be employed in this approach. This article analyzes the tensions present in Peruvian theater focused on the reflection of the county’s past and recent history, comparing them to narratives derived from the visual arts. Three Peruvian plays written during the 19th, 20th and 21st centuries are analyzed: Los patriotas de Lima en la noche feliz, by Manuel Santiago Concha (1821); Los conquistadores, by Hernando Cortés (1977); and Una hazaña nacional, by Alfonso Santistevan (2024). This study will show the ways in which theater constitutes an essential historical document in the construction of national imaginaries in a country whose reality is still shown, most of the time, as an unfulfilled dream).
13
artículo
Publicado 2025
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This essay explores the hopeful, though often frustrating, aspects of using artificial intelligence (AI) technology as a tool in service of the writer to co-create original texts. To do so, we carried out an experiment that aimed to achieve the manuscript of the first ten pages of a historical play, starting from a blank page, which I completed and titled Caracol. Through my exploration process, I navigated and tested the AI, seeking to define its possible role as a useful collaborator in the creative process. After much trial and error, I concluded that AI is a helpful asset that will be added to my tools, but with restricted and limited power. The AI proved its worth as a good coach and editor, and as a technology capable of working by following my guidelines on archival materials in order to create historical fiction, in this case, of dramatic nature. The following essay examines its ...
14
artículo
This paper presents a rhetorical-affective analysis of the stage directions in Beatriz Catani’s dramaturgy. From the perspective of Affect Theory, this involves considering to what extent the writing of this "unspoken" aspect of the dramatic text constitutes a figure that produces and records ways of experimenting with language, bodies, space, and time. In this sense, different rhetorical, syntactic, and semantic forms in the stage directions of some of her works—especially in Ojos de ciervo rumanos—are examined. It is argued that these forms allow an exploration of the aesthetic pursuits and procedures that express the sensibilities and transformations of her time: it expresses what the author herself recognizes as “approaches to the real” in response to the “crisis of theatrical representation”. Thus, this study proposes an analysis of stage directions as a sign “satura...
15
artículo
Publicado 2025
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This essay explores the hopeful, though often frustrating, aspects of using artificial intelligence (AI) technology as a tool in service of the writer to co-create original texts. To do so, we carried out an experiment that aimed to achieve the manuscript of the first ten pages of a historical play, starting from a blank page, which I completed and titled Caracol. Through my exploration process, I navigated and tested the AI, seeking to define its possible role as a useful collaborator in the creative process. After much trial and error, I concluded that AI is a helpful asset that will be added to my tools, but with restricted and limited power. The AI proved its worth as a good coach and editor, and as a technology capable of working by following my guidelines on archival materials in order to create historical fiction, in this case, of dramatic nature. The following essay examines its ...
16
artículo
This paper presents a rhetorical-affective analysis of the stage directions in Beatriz Catani’s dramaturgy. From the perspective of Affect Theory, this involves considering to what extent the writing of this "unspoken" aspect of the dramatic text constitutes a figure that produces and records ways of experimenting with language, bodies, space, and time. In this sense, different rhetorical, syntactic, and semantic forms in the stage directions of some of her works—especially in Ojos de ciervo rumanos—are examined. It is argued that these forms allow an exploration of the aesthetic pursuits and procedures that express the sensibilities and transformations of her time: it expresses what the author herself recognizes as “approaches to the real” in response to the “crisis of theatrical representation”. Thus, this study proposes an analysis of stage directions as a sign “satura...
17
artículo
Publicado 2023
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Despite the existence of performing practices that have explored the relationship between autobiography and fiction for a long time, theatrical autofiction has only recently begun to be studied. This is partly due to the particularities of theatrical communication that make traditional models of analysis, designed for narrative texts, unable to explain the dynamics of dramatic autofiction. This article proposes to rethink the theory of theatrical autofiction based on the inscription of the autofiction reading pacts in the conventions of theatrical reception. The discussion is based on the analysis of the dramaturgy of Sergio Blanco, whose work essentially explores the possibilities and limits of autofiction on stage.
18
artículo
Publicado 2023
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This article analyzes Diálogo entre zorros (Dialogue Among Foxes), a collective creation that represents the origin and history of Villa El Salvador, a community in the southern part of Lima, the capital of Peru, in order to search for the particular characteristics of a collectively created dramaturgy in the historical context of the 1980s. The article reviews the mode of production, creation, and reception of collective creation theatre as a way of responding to traditional theater in order to incorporate new agents, themes, and aesthetics. The analysis of the play allows to discover that, beyond its communicational function, it proposes a dramaturgy rich in dramatic and spectacular resources. Additionally, this research intends to look for connections in this theater experience generated from the community itself, with the concepts and tools of local history and microhistory as well ...
19
artículo
Publicado 2023
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This article analyzes Diálogo entre zorros (Dialogue Among Foxes), a collective creation that represents the origin and history of Villa El Salvador, a community in the southern part of Lima, the capital of Peru, in order to search for the particular characteristics of a collectively created dramaturgy in the historical context of the 1980s. The article reviews the mode of production, creation, and reception of collective creation theatre as a way of responding to traditional theater in order to incorporate new agents, themes, and aesthetics. The analysis of the play allows to discover that, beyond its communicational function, it proposes a dramaturgy rich in dramatic and spectacular resources. Additionally, this research intends to look for connections in this theater experience generated from the community itself, with the concepts and tools of local history and microhistory as well ...
20
artículo
Publicado 2023
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This article analyzes Diálogo entre zorros (Dialogue Among Foxes), a collective creation that represents the origin and history of Villa El Salvador, a community in the southern part of Lima, the capital of Peru, in order to search for the particular characteristics of a collectively created dramaturgy in the historical context of the 1980s. The article reviews the mode of production, creation, and reception of collective creation theatre as a way of responding to traditional theater in order to incorporate new agents, themes, and aesthetics. The analysis of the play allows to discover that, beyond its communicational function, it proposes a dramaturgy rich in dramatic and spectacular resources. Additionally, this research intends to look for connections in this theater experience generated from the community itself, with the concepts and tools of local history and microhistory as well ...
