Browsing by Author "Opazo Retamal Cristian Marcel Alonso"
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- ItemProphesizing the End of Theatre La Laura Palmer's Animales invisibles(Taylor and Francis, 2021) Kalawski, Andres; Opazo Retamal Cristian Marcel AlonsoThe Chilean police keep firing pellets and tear gas bombs in the streets, blinding and injuring people by the hundreds. The people keep demonstrating. Two months before the protests of October 2019, a problematic documentary play, Animales invisibles, while distorting the genre, prophesied what was to come precisely in the way it departed from the documentary.
- ItemSacrifice Zones: Tú amarás [You will love], by Pablo ManziZonas de sacrificio: Tú amarás, de Pablo Manzi(Taylor and Francis, 2021) Opazo Retamal Cristian Marcel Alonso© 2021 Pontificia Universidad Catolica de Chile. All rights reserved.Using the dramatic text Tú amarás (2018) by Pablo Manzi (Santiago, 1988), this essay analyzes how the politically correct sub-text of many academic discourses disseminated by scholars from universities and non-governmental organizations re-produce sacrifice zones. Through the work of the “academic machine,” these discourse threads create spaces in which the identities of those who inhabit the margins of modern societies are cruelly stigmatized.
- ItemThe boom and the profession: Teaching in a biographical keyEl boom y el oficio: Enseñar en clave biográfica(2022) Ramos J.G.; Opazo Retamal Cristian Marcel Alonso© 2021 Universidad Catolica Silva Henriquez. All rights reserved.In this paper, I analyze the play Galvarino, directed by Paula González Seguel. Frequently described by critics as a piece of autobiographical theatre, Galvarino stages the results of a research project lead by González. Through this research, González tries to recover the figure of her missing uncle, Galvarino Ancamil Mercado (a Mapuche teenager who was exiled in the Soviet Union after de military coup and then murdered by skinheads in Moscow's suburbs). The statement of this paper says that González's work adopts the shape of the work of kinship: A series of domestic and invisible labors that maintain family relations even in circumstances of death and forced migration. According to this statement, the main goal of this paper is to discover which theatre skills González has to operate to develop her work of restoration in contemporary Chile-a cultural field haunted by racism and xenophobia. In the end, I conclude that González found in the voice of his missing uncle a secret language to start a revolt against oblivion.
- ItemThe uncle's tale: The work of kinship in Paula González's Galvarino (2012)El cuento del tío. El trabajo del parentesco en Galvarino (2012) de Paula González(2021) Opazo Retamal Cristian Marcel Alonso© 2021 Universidad Catolica Silva Henriquez. All rights reserved.In this paper, I analyze the play Galvarino, directed by Paula González Seguel. Frequently described by critics as a piece of autobiographical theatre, Galvarino stages the results of a research project lead by González. Through this research, González tries to recover the figure of her missing uncle, Galvarino Ancamil Mercado (a Mapuche teenager who was exiled in the Soviet Union after de military coup and then murdered by skinheads in Moscow's suburbs). The statement of this paper says that González's work adopts the shape of the work of kinship: A series of domestic and invisible labors that maintain family relations even in circumstances of death and forced migration. According to this statement, the main goal of this paper is to discover which theatre skills González has to operate to develop her work of restoration in contemporary Chile-a cultural field haunted by racism and xenophobia. In the end, I conclude that González found in the voice of his missing uncle a secret language to start a revolt against oblivion.