The City Behind the City: Performance, Past, and Memory in Buenos Aires

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This paper argues that performances set in recognizable public spaces in the City of Buenos Aires open, through their own dynamics of representation, a temporal depth towards the past of a place. At the same time, they present shared deictics that can contribute to the construction of citizenship, u...

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Autor principal: Hadges, Deborah
Formato: Artículo publishedVersion
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2025
Materias:
City
Memory
Public Space
Performances
Tour
Ciudad
Memoria
Espacio público
Caminatas
Acceso en línea:https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/15539
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=15539_oai
Aporte de:
Repositorio Digital de la Universidad de Buenos Aires (UBA) de Universidad de Buenos Aires
id I28-R145-15539_oai
record_format dspace
spelling I28-R145-15539_oai2025-11-17 Hadges, Deborah Hadges, Deborah 2025-05-04 This paper argues that performances set in recognizable public spaces in the City of Buenos Aires open, through their own dynamics of representation, a temporal depth towards the past of a place. At the same time, they present shared deictics that can contribute to the construction of citizenship, understood as a daily, situated, and political act. Both Un paisaje para mí (Silvia Gómez Giusto and Aliana Álvarez Pacheco, 2023), performed at the Museo Nacional de Bellas Artes, and Una obra más real que la del mundo (Mujer Mutante, 2019, 2021, 2022, 2023), performed at Chacarita Cemetery, take on the structure of a guided tour. These interventions can be read as modes of enunciation about their respective loci of performance and explorations at the intersection of urban space, history, and memory. En este trabajo se propone que las obras que utilizan un espacio público reconocible de la ciudad como escenario abren, por su propia dinámica de representación, un espesor temporal a la historia y la memoria colectiva del lugar, a la vez que proponen deícticos compartidos que pueden colaborar en la construcción de la ciudadanía, entendida como un acto cotidiano, situado y político. A partir de “Un paisaje para mi” (Silvia Gómez Giusto y Aliana Álvarez Pacheco) realizada en el Museo Nacional de Bellas Artes y “Una obra más real que la del mundo” (Mujer Mutante) realizada en el Cementerio de la Chacarita se exploran las posibilidades de la representación en la entrecrucijada de espacios urbanos, ficciones y memorias. application/pdf https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/15539 10.34096/tdf.n41.15539 spa Facultad de Filosofía y Letras, Universidad de Buenos Aires https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/15539/15253 telondefondo. Revista de Teoría y Crítica Teatral; Núm. 41 (2025) 1669-6301 City Memory Public Space Performances Tour Ciudad Memoria Espacio público Performances Caminatas The City Behind the City: Performance, Past, and Memory in Buenos Aires La ciudad atrás de la ciudad. Performance, pasado y memoria en Buenos Aires info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=15539_oai
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-145
collection Repositorio Digital de la Universidad de Buenos Aires (UBA)
language Español
orig_language_str_mv spa
topic City
Memory
Public Space
Performances
Tour
Ciudad
Memoria
Espacio público
Performances
Caminatas
spellingShingle City
Memory
Public Space
Performances
Tour
Ciudad
Memoria
Espacio público
Performances
Caminatas
Hadges, Deborah
Hadges, Deborah
The City Behind the City: Performance, Past, and Memory in Buenos Aires
topic_facet City
Memory
Public Space
Performances
Tour
Ciudad
Memoria
Espacio público
Performances
Caminatas
description This paper argues that performances set in recognizable public spaces in the City of Buenos Aires open, through their own dynamics of representation, a temporal depth towards the past of a place. At the same time, they present shared deictics that can contribute to the construction of citizenship, understood as a daily, situated, and political act. Both Un paisaje para mí (Silvia Gómez Giusto and Aliana Álvarez Pacheco, 2023), performed at the Museo Nacional de Bellas Artes, and Una obra más real que la del mundo (Mujer Mutante, 2019, 2021, 2022, 2023), performed at Chacarita Cemetery, take on the structure of a guided tour. These interventions can be read as modes of enunciation about their respective loci of performance and explorations at the intersection of urban space, history, and memory.
format Artículo
publishedVersion
author Hadges, Deborah
Hadges, Deborah
author_facet Hadges, Deborah
Hadges, Deborah
author_sort Hadges, Deborah
title The City Behind the City: Performance, Past, and Memory in Buenos Aires
title_short The City Behind the City: Performance, Past, and Memory in Buenos Aires
title_full The City Behind the City: Performance, Past, and Memory in Buenos Aires
title_fullStr The City Behind the City: Performance, Past, and Memory in Buenos Aires
title_full_unstemmed The City Behind the City: Performance, Past, and Memory in Buenos Aires
title_sort city behind the city: performance, past, and memory in buenos aires
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2025
url https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/15539
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=15539_oai
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