Their lives after: Theatre as testimony and the so-called 'second generation' in post-dictatorship Argentina

Perez, Mariana Eva

doi:10.3167/jrs.2013.130302

Cited by 5 publications

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“…La noción ha sido utilizada para analizar las experiencias de la generación de las hijas y los hijos de desaparecidos en Argentina y Latinoamérica (BLEJMAR Y FORTUNY, 2013; ROS, 2012). Sus usos en el contexto argentino han sido también discutidos por no referir de modo preciso a la experiencia de los hijos de desaparecidos (SARLO, 2005, PÉREZ, 2013 Carri (2003) marca un punto de ruptura y apertura en los modos en que los hijos de desaparecidos produjeron narraciones sobre el pasado reciente argentino. La ruptura generada por este documental subjetivo, documental-ficción o film autoficcional vendría dada principalmente por el tratamiento otorgado a la cuestión de la memoria y al uso de los testimonios.…”

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Lugar de hija, lugar de madre. Autoficción y legados familiares en la narrativa de hijos de desaparecidos en Argentina

Peller

2016

Rev. Cria. Crít.

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1Resumen: En este artículo examino una serie de producciones de hijas de desaparecidos en Argentina. Los relatos ¿Quién te creés que sos? de Ángela Urondo Raboy (2012) y Aparecida de Marta Dillon (2015), y la instalación audiovisual Operación fracaso y el sonido recobrado de Albertina Carri (2015). Propongo que la experiencia de ser hija de desaparecidos y, luego, madre de nietos de desaparecidos, encuentra en la autoficción una forma de poder ser narrada y elaborada para sí y para otros. A partir de la experiencia de la propia maternidad, estas hijas despliegan un trabajo de narración y transmisión hacia las futuras generaciones, que supone una apertura hacia el futuro y una identificación con la propia madre. Ambas figuras de la madre, la madre-muerta y la hija-madre, se conforman como el motor de las obras. Escribir para saber, escribir como parte de un trabajo de duelo y también para transmitir y legar relatos a las futuras generaciones. Palabras clave: Hijas de desaparecidos, maternidad, autoficción, posdictadura, Argentina, legados Place of daughter, place of mother. Autofiction and family legacies in the narrative of daughters of disappeared in ArgentinaAbstract: In this article, I will examine productions of daughters of disappeared in Argentina. The books ¿Quién te creés que sos? of Ángela Urondo Raboy (2012) and Aparecida of Marta Dillon (2015), and the audiovisual installation Operación fracaso y el sonido recobrado of Albertina Carri (2015). I will propose that the experience of being daughter of disappeared and mother of grandchildren of disappeared, have found in autofiction a way of being narrated and elaborated for herself and for others. From the experience of their own motherhood, these daughters do a working of narration and transmission to the future generations, which implies an opening to the future and also an identification with their own mothers. The figure of mother constitutes the engine of the work of these artists. Write to learn, write as part of a work of mourning and also to convey stories and legacies to the future generations. En este ensayo propongo que estas obras, al igual que sucede con otras del universo de las producciones de hijas e hijos de militantes y/o desaparecidos en Argentina, reclaman una interpretación 1 Socióloga y Doctora en Ciencias Sociales por la Universidad de Buenos Aires (UBA). Docente en la

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Lugar de hija, lugar de madre. Autoficción y legados familiares en la narrativa de hijos de desaparecidos en Argentina

Peller

2016

Rev. Cria. Crít.

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“…The lens of postmemory is still narrow when singularly chosen to view such communitybased theatrical work. Mariana Eva Perez (2013) reflects on this in "Their Lives after: Theatre as Testimony and the so-Called 'Second Generation' in Post-Dictatorship Argentina." Though this analysis is of the play Mi vida después (My Life After), a performance of testimonies from individuals of the "so-called 'second generation'" in post-dictatorship Argentina, Perez makes relevant criticism to solely using postmemory as a framework for analyzing a production of this nature.…”

Section: Memorymentioning

confidence: 99%

Invoke Memory, Evoke Identity: Ethnic Identity Formation and Cultural Production in Vietnamese Culture Nights

Katie

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Vietnamese Culture Nights (VCNs) and similar student-produced, narrative-driven Vietnamese diasporic performances are widespread spatially and temporally, with productions taking place across countries outside Vietnam and some events holding 40+ years of annual shows. This research analyzes the critical concepts of Vietnamese Culture Nights and engages with them in a series of workshops that address and discuss these concepts, to better understand the effectiveness of the critical study on participants' understanding of their own ethnic identity attachment and their engagement in cultural productions, productions being both intentional performances and the daily acts of cultural production in mundane life. These critical concepts are powerful components of VCNs, but the current structures of VCNs leave little room for critical engagement. This research enacts a space where participants of Vietnamese Culture Nights can think critically, develop clarity, and enhance the genre of Vietnamese Culture Nights, for themselves and for their community.v J. R. Nguyen's (2021) examination of the Vietnamese diasporic identity reveals that "Vietnamese-ness cannot be assumed as a given in any study purporting to be about analyzing Vietnamese [insert topic here], because the contingence of the identity-established by emergent practices and discourses-is a critical element of the identity's power to compel collective actions" (11). Here, Nguyen argues that practices of cultural production in Vietnamese contexts do not necessitate that the Vietnamese identity is what is being studied, but rather that the space created expresses Vietnamese identity, even when it is not that specific identity at the forefront.Taking a step further, Nguyen establishes that while "cultural performances are thus purposefully built and staged to capture a portion of that essence of Vietnamese-ness, and diasporic identity discourses similarly revolve around preserving relevant aspects of the history, narratives, traditions, and culture of Vietnamese people-especially that of the refugees-for future generations" (p. 163) they also "constantly wrestle with this sense of existential distance and estrangement from Vietnamese-ness as an 'authentic' culture and history with a core of distinctive signifiers, discourses, and narratives" (p. 223). These thoughts will be developed further in the next critical concepts. Cultural ProductionThis research employs the constructive definition of ethnicity as expressed in the previous concept. Culture, as a dimension of ethnicity, is also a social construction. However, Nagel expresses that "culture provides the content and meaning of ethnicity; it animates and authenticates ethnic boundaries by providing a history, ideology, symbolic universe, and system of meaning" (p. 162). However, this definition is expanded by the criticism for the constructivist approach that is found within Mattijs van der Port and Birgit Meyer's (2018) discussion of

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Introduction: The Second Generation in Contemporary Argentina

Maguire

2017

The Politics of Postmemory

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Their lives after: Theatre as testimony and the so-called 'second generation' in post-dictatorship Argentina

Cited by 5 publications

References 0 publications

Lugar de hija, lugar de madre. Autoficción y legados familiares en la narrativa de hijos de desaparecidos en Argentina

Lugar de hija, lugar de madre. Autoficción y legados familiares en la narrativa de hijos de desaparecidos en Argentina

Invoke Memory, Evoke Identity: Ethnic Identity Formation and Cultural Production in Vietnamese Culture Nights

Introduction: The Second Generation in Contemporary Argentina

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