Deformances : destellos de una cartografía teatral de las desobediente /

Deformances : destellos de una cartografía teatral de las desobediente /

Saved in:
Bibliographic Details
Author / Creator:Bevacqua, María Guillermina, 1983- author.
Edition:Primera edición.
Imprint:Ciudad Autónoma de Buenos Aires : Editorial Libretto, [2020]
©2020
Description:317 pages : illustrations, facsimile ; 21 cm
Language:Spanish
Subject:
Barea, Batato, -- 1961-1991 -- Criticism and interpretation.
Barea, Batato, -- 1961-1991.
Centro Cultural Rector Ricardo Rojas -- History.
Centro Cultural Rector Ricardo Rojas.
Theater -- Argentina -- History -- 20th century.
Experimental theater -- Argentina.
Performance art -- Argentina -- History -- 20th century.
Transgender artists -- Argentina -- History -- 20th century.
Experimental theater.
Performance art.
Theater.
Transgender artists.
Argentina.
Criticism, interpretation, etc.
History.
Format: Print Book
URL for this record:http://pi.lib.uchicago.edu/1001/cat/bib/12661834
Hidden Bibliographic Details
Varying Form of Title:Destellos de una cartografía teatral de las desobediente
ISBN:9789874704849
9874704845
Notes:Includes bibliographical references (pages 291-317).
Summary:In the eighties, at the Centro Cultural Ricardo Rojas (C.C.R.R) of the University of Buenos Aires, Batato Barea (a clown-transvestite-literary) proposed a body dramaturgy that disregarded the logic of sex-gender. In the new millennium, within the framework of the activities developed by the Gender Technologies Area of the mentioned institution, his figure was evoked, in a spectral manner, through a scenic program that dialogued with the social movement of the transvestites of Buenos Aires city. From this intersection at the C.C.R.R., author Guillermina "Mina" Bevacqua (Concepcion del Uruguay (Entre Rios), 1983) traced a theatrical cartography of sex-gender disobediences in the period 1984-2014. To give an account of the institutional profile that made this tour possible, the first part of her work, is a historiographical panorama of the Centro Cultural Ricardo Rojas. Then, in the second part, she reflects on the characterization of this cartography. Finally, the DEFORMANCE concept is explicit, as an anti-productive category under which to register the corpus of artists that participated in the institution, intermittently, throughout its 30 years.

System Under Maintenance

Our Library Management System is currently under maintenance.

Holdings and item availability information is currently unavailable. Please accept our apologies for any inconvenience this may cause and contact us for further assistance:

catalog@lib.uchicago.edu

The Joel Spitz Memorial Fund bookplate

Similar Items