Download Art and the Performance of Memory: Sounds and Gestures of by Richard Cándida Smith PDF

By Richard Cándida Smith

This booklet investigates the position that the visible and acting arts play in our adventure and knowing of the earlier. increasing upon longstanding matters in cultural historical past concerning the relation of textual content and snapshot, the e-book highlights the excellence among enactive and cognitive reminiscence and the consequences of this for artists and their publics.

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Extra info for Art and the Performance of Memory: Sounds and Gestures of Recollection

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When Enrique was speaking about death, whether in his “autobiographical” stories or in theater, he always did it through/with laughter. Death was a “popular” and always present character in every single play staged in the TEC. In Pilot Project, there are, for example, four Deaths: Opulent Death, White Collar Death, Rat Death, and Death Death. The previous performance is over and the next one is about to start. White Collar Death is picking up the newspaper from the floor. Takes a look into it. 13 The “macabre” moments of laughter are also present in Enrique’s story about his birth.

She becomes one with red mud and dust covering the road passing by her village. As a matter of fact there is no way in Buenaventura’s text to separate the two realms – temporal and atemporal – in the narration of La Maestra. Not only is her story connected with mythic consciousness, La Maestra’s narration follows also the structure of myth enveloping the historical events into circular time in which past, present, and future intermingle. The play begins with La Maestra’s monolog evoking the image of the road, red dust, and mud, passing by mules, horses, and people.

11 In an environment where social conflicts are extremely acute, where hunger accompanies the great number of people on an everyday basis, where obscure forces “clean” the city streets by killing homeless kids and throwing them into the river . . who wouldn’t criticize the existing “order,” who wouldn’t search the ways for resistance and who wouldn’t desire to work for the more just society?! This is why Buenaventura’s theater is so critical of the governing social system, this is why the principal characters of his theater belong to/come from the never-ending round dance of political and social machinations: President, Priest, Colonel, Sergeant, Prostitutes, Beggars, Teacher, and the perpetual companion of life – Death .

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