The boom and the profession: Teaching in a biographical keyEl boom y el oficio: Enseñar en clave biográfica
No Thumbnail Available
Date
2022
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
© 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.
Description
Keywords
Chilean theatre, Diglossia, Mapuche women stage directors, Memory, Work of kinship