De la « casa segura » au slogan : dramaturgies en huis-clos et injustices politiques au Chili

This article reflects on how Chilean theater represents contemporary political demands, taking the example of three plays created shortly before the estallido of 2019: Mateluna by Guillermo Calderón (2016), Trewa by Paola González (2019) and Irán #3037 by Patricia Artés (2019). Even if they are root...

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Main Author: Célia Jésupret
Format: Article
Language:English
Published: Institut des Amériques 2023-03-01
Series:IdeAs
Subjects:
Online Access:https://journals.openedition.org/ideas/14955
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author Célia Jésupret
author_facet Célia Jésupret
author_sort Célia Jésupret
collection DOAJ
description This article reflects on how Chilean theater represents contemporary political demands, taking the example of three plays created shortly before the estallido of 2019: Mateluna by Guillermo Calderón (2016), Trewa by Paola González (2019) and Irán #3037 by Patricia Artés (2019). Even if they are rooted in the reality and make a great use of documents and archives, these plays set up compositions that leave room for fiction, and whose stories unfold in the intimacy of small human groups: a family, a group of friends, a theater company. Therefore, they create a kind of micropolitics where emotions, dreams, testimony and sometimes autofiction serve as a support for the formulation of claims that will then go beyond the walls of the theater.
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spelling doaj-art-b35b0d0e3fff4e4db38bd31d60bbed262025-08-20T03:07:10ZengInstitut des AmériquesIdeAs1950-57012023-03-012110.4000/ideas.14955De la « casa segura » au slogan : dramaturgies en huis-clos et injustices politiques au ChiliCélia JésupretThis article reflects on how Chilean theater represents contemporary political demands, taking the example of three plays created shortly before the estallido of 2019: Mateluna by Guillermo Calderón (2016), Trewa by Paola González (2019) and Irán #3037 by Patricia Artés (2019). Even if they are rooted in the reality and make a great use of documents and archives, these plays set up compositions that leave room for fiction, and whose stories unfold in the intimacy of small human groups: a family, a group of friends, a theater company. Therefore, they create a kind of micropolitics where emotions, dreams, testimony and sometimes autofiction serve as a support for the formulation of claims that will then go beyond the walls of the theater.https://journals.openedition.org/ideas/14955Chilefictionactivist theatredocumentary aestheticsclosed doors
spellingShingle Célia Jésupret
De la « casa segura » au slogan : dramaturgies en huis-clos et injustices politiques au Chili
IdeAs
Chile
fiction
activist theatre
documentary aesthetics
closed doors
title De la « casa segura » au slogan : dramaturgies en huis-clos et injustices politiques au Chili
title_full De la « casa segura » au slogan : dramaturgies en huis-clos et injustices politiques au Chili
title_fullStr De la « casa segura » au slogan : dramaturgies en huis-clos et injustices politiques au Chili
title_full_unstemmed De la « casa segura » au slogan : dramaturgies en huis-clos et injustices politiques au Chili
title_short De la « casa segura » au slogan : dramaturgies en huis-clos et injustices politiques au Chili
title_sort de la casa segura au slogan dramaturgies en huis clos et injustices politiques au chili
topic Chile
fiction
activist theatre
documentary aesthetics
closed doors
url https://journals.openedition.org/ideas/14955
work_keys_str_mv AT celiajesupret delacasaseguraauslogandramaturgiesenhuisclosetinjusticespolitiquesauchili