El movimiento argentino Teatro Abierto (1981-1985). Escena, política y poéticas dramáticas

Résumé

This thesis focuses on the movement Teatro Abierto (which means Open Theatre). Teatro Abierto was a theatre event in Argentina originated during the last dictatorship in the country, the self-called Proceso de Reorganización Nacional (National Reorganization Process), from 1976 until 1983, the most oppressive dictatorship in Argentinean history. Teatro Abierto began in 1981 and it had a yearly season until 1985. This festival was really an important socio-political phenomenon in the country and it has been studied by some researches. One of the main points of my dissertation is to present a new perspective of Teatro Abierto. This wasn't only a sociopolitical phenomenon taking place in 1981, but also a theatrical movement: important for the theatre both in the dictatorship context and for post-dictatorship period. The study of this event after 1981 unveils the effects of Teatro Abierto in the history of the Argentinean theatre. For this reason, this dissertation focuses on the different seasons of Teatro Abierto to discover true nature of this event: the reconstruction of the theatrical field in Argentina, the recovery of the theatre tradition and its influence on the contemporary stage. Departing from this aim, the dissertation analysis the development of Teatro Abierto in its different seasons, paying special attention to its concerns about the theatrical field, its characteristic and objectives. Another aim of this dissertation is to analyse the theatre poetics of Teatro Abierto. To do so, the dissertation focuses on ten of the most notorious playwrights participating in the events and on some of their plays: Gorostiza, Dragún, Halac, Cossa, Gambaro, Pavlovsky, Somigliana, Bortnik, Monti and Kartun. These are paradigmatic figures to understand the role of Teatro Abierto in the history of Argentinean theatre. According to our hypothesis, this movement is a landmark in the history of the national scene: Teatro Abierto is simultaneously looking at the past and the future, recalling the mythological figure of Jano. The methodology of dissertation can be described as an open methodology, departing from: 1) Historical analysis of the most important events and aesthetics of the Argentinean theatre since 1930 until the post-dictatorship era and their relationship with Teatro Abierto. 2) Analysis of the History of Argentinea and the context of the last dictatorship. 3) Comparative methodology to analyze the relationship of Teatro Abierto with the traditional aesthetic and the influence in the contemporary theatre to place Teatro Abierto at the centre of the evolution of Argentinean Theatre. 4) Aesthetical analysis of the plays in Teatro Abierto, with the focus on the ten playwrights. 5) Analysis of Teatro Abierto and its relationship with the cultural field. 6) Study of Teatro Abierto as a movement and not only a political phenomenon. 7) Analysis of Teatro Abierto as an emblem of the cultural memory of the country. Following Dubatti's ideas in Filosofía del teatro (2007; 2014) and Pierre Bourdieu's intellectual fields, among others, Teatro Abierto is studied as a movement and a theatrical event, highlighting its importance in the History of Argentean theatre. We analyses the four seasons of Teatro Abierto, the recovery of the theatrical field in Argentina, the assertion of unknow plays and the assessment as a political event to discover essence of the intentions behind Teatro Abierto. Finally, we analyses the ten playwrights in the corpus focusing on the connections of the plays with the dictatorship and their implications with theatre tradition and the contemporary stage. In conclusion, this dissertation revalues the study of Teatro Abierto considering its role in the history of Argentinean theatre, its positive action for the recovery of the theatre field and its understanding as a theatrical movement.