Mecanismos de la autoficción en el teatro sobre el franquismo de «los nietos»
This article uses the postmemory category by Marianne Hirsch for analyzing the theatrical plays that are enlisted under the artistic category of autofiction. In this case, plays by the generation of “los nietos”, as Santos Juliá termed it, are analyzed. This generation feels the responsibility of re...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Fecha de publicación: | 2021 |
| País: | España |
| Institución: | Universidad de Navarra |
| Repositorio: | Dadun. Depósito Académico Digital de la Universidad de Navarra |
| Idioma: | español |
| OAI Identifier: | oai:dadun.unav.edu:10171/62983 |
| Acceso en línea: | https://hdl.handle.net/10171/62983 |
| Access Level: | acceso abierto |
| Palabra clave: | Teatro Autoficción Dictadura franquista Posmemoria Teoría literaria |
| Sumario: | This article uses the postmemory category by Marianne Hirsch for analyzing the theatrical plays that are enlisted under the artistic category of autofiction. In this case, plays by the generation of “los nietos”, as Santos Juliá termed it, are analyzed. This generation feels the responsibility of restoring a past about the Guerra Civil or the Franco’s dictatorship. Consequently, given the lack of testimonies and documents, the authors use a delegated memory for their dramaturgy. As result, we find plays of great persuasive power because they set up an intersubjective dialogue that allows the audience to perform an <em>affiliative </em>act with what has been told. As a case study, the play <em>La armonía del silencio </em>by Lola Blasco is analyzed, where Dolores, the playwright’s <em>alter ego</em>, becomes a clear example of postmemory, with a gender perspective in addition. |
|---|