ANTIGONA FURIOSA GRISELDA GAMBARO PDF

Combinations of the laughable and the serious are shown to hold affective ways of understanding and remembering Argentina's most recent military dictatorship The audience sometimes laughs with the buffoons, but then later reflects on it; at other moments, the two men mock and laugh while the audience merely observes their cruelty. Through both taking part in and observing nuances of humor, the importance of the witness's role in the theatre and in society is heightened and the audience ultimately acquires a new way of knowing the trauma of the dictatorship. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves.

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But, as modern theatre practitioners have insisted, criminal politics are not over, and the plight of Antigone illuminates the continuing struggle to exert individual agency in the face of unethical political demands.

European playwright, such as Anouilh, reworked the play to address the role of the French resistance in the face of Nazi occupation. Spectators readily follow the well-known story as Teresa Ralli acts out the various figures—Antigone, Ismene, Creon, Hermion, Tiresias, Haemon, and the messenger—using only a chair as a prop on the otherwise empty stage. Her precise and eloquent movements transform her outfit, a simple tunic over a pant and bodice, into numerous costumes.

Conceived in the late s, seven years after the end of a decade of violent civil conflict, Yuyachkani does not invoke Antigone primarily to tell of a people divided against itself. As Teresa Ralli and director Miguel Rubio tell it, this too would have been their interpretation of the play if they had developed it in the s. In the late s, the issues have changed.

Now in Peru, as in other countries dealing with the long-term effects of violence, people struggle to come to terms with their own strategies to survive in a dehumanizing environment. Ismene, the sister who failed to act in defense of Antigona and her brother, becomes the narrator.

She re-enacts the story, not as an outsider, looking back, but as a reluctant witness who blinded herself through fear. Antigona offers the hope to those witnesses and participants who were unable to respond heroically in the face of atrocity.

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Antigone: Anastrophe in Griselda Gambaro’s Antígona furiosa

Gambaro's writing has been influenced by the politics of Argentina , which has seen three military takeovers, two rigged elections, several factions of urban guerrillas, and the state-run Dirty War from She removes the rope around her neck and starts to sing the same song Ophelia sings in Shakespeare 's Hamlet , after her character is driven insane by her lover. Coryphaeus bursts into laughter, then pretends with great exaggeration that he is dying from its "poison," with Antinous quickly joining in. She throws herself on top of him, protecting or attempting to revive him, and attempts to give him proper burial. Antinous remarks how she wasn't able to bury him, as the earth was too hard, and that is how the guards caught her.

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Antigona Furiosa

These returns, these multiple levels of anastrophe , enable the plays to respond to political contexts their authors knew nothing about. As an Antigone, she takes us back to Sophocles and forces us to consider his political context. As an actress, she forces us to confront the doomed repetitions of her character: Antigone always dies. And as a messenger, she draws our attention to what we could not see and brings to life the disappeared bodies of the lost. We must choose to watch Antigone meet an end that she has met for millennia, and we must then decide what her death means for us now. Skip to main content. Gruen Prize Fellowships David D.

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From Ancient Greek Drama to Argentina's ‘Dirty War’; Antígona Furiosa: On Bodies and the State

But, as modern theatre practitioners have insisted, criminal politics are not over, and the plight of Antigone illuminates the continuing struggle to exert individual agency in the face of unethical political demands. European playwright, such as Anouilh, reworked the play to address the role of the French resistance in the face of Nazi occupation. Spectators readily follow the well-known story as Teresa Ralli acts out the various figures—Antigone, Ismene, Creon, Hermion, Tiresias, Haemon, and the messenger—using only a chair as a prop on the otherwise empty stage. Her precise and eloquent movements transform her outfit, a simple tunic over a pant and bodice, into numerous costumes. Conceived in the late s, seven years after the end of a decade of violent civil conflict, Yuyachkani does not invoke Antigone primarily to tell of a people divided against itself. As Teresa Ralli and director Miguel Rubio tell it, this too would have been their interpretation of the play if they had developed it in the s. In the late s, the issues have changed.

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