Theatrical Praxis an the Political: Demand, Teatristas, Audience
The essay addresses the issues of theatrical praxis from what is now called Lacanian politics (Jacques-Alain Miller) and Lacanian left (Jorge Alemán, Ernesto Laclau and others). The position of the playwright is considered during the process of rehearsals and mise-en-scène, following the contributi...
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2019
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/6510 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=6510_oai |
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I28-R145-6510_oai2025-11-17 Geirola, Gustavo 2019-03-03 The essay addresses the issues of theatrical praxis from what is now called Lacanian politics (Jacques-Alain Miller) and Lacanian left (Jorge Alemán, Ernesto Laclau and others). The position of the playwright is considered during the process of rehearsals and mise-en-scène, following the contributions of Lacan on the analytical act and its ethical consequences. By orienting the theatrical praxis towards a theater of emancipation and from the perspective of the performative act, it is necessary to review the concept of demand (both the artist’s and the audience’s), the political role of the heterogeneous as a brake on the progressive increase of homogeneity in neoliberal society. Hence, the discussion on the mass-people opposition, as Laclau has proposed, requires a revision of the notion of conviviality raised by Jorge Dubatti. The result is a conceptualization of the theatrical praxis - based on desire, the subject of the unconscious and knowledge - as a field of intervention sustained in artistic creativity and directed at what remains ‘inappropriate’ by the capitalist system. Thus, the theatrical praxis is positioned outside the academic epistemological protocols oriented to the production of knowledge, supported by the reproducibility of experience and craft, and centered on the Cartesian subject, as proposed by theater studies or the philosophy of theater. El ensayo aborda las cuestiones de la praxis teatral desde lo que hoy se ha dado en llamar política lacaniana (Jacques-Alain Miller) e izquierda lacaniana (Jorge Alemán, Ernesto Laclau y otros). Se plantea la posición del teatrista durante el proceso de ensayos y montaje, siguiendo los aportes de Lacan sobre el acto analítico y sus consecuencias éticas. Al orientar la praxis teatral hacia un teatro de la emancipación y desde la perspectiva del acto performativo, se hace necesario revisar el concepto de la demanda (tanto del teatrista como del público), el rol político de lo heterogéneo como freno al progresivo incremento de lo homogéneo en la sociedad neoliberal. De ahí que la discusión sobre la oposición masa-pueblo, tal como la ha planteado Laclau, exija una revisión de la noción de convivio planteada por Jorge Dubatti. El resultado es una conceptualización de la praxis teatral –basada en el deseo, el sujeto del inconsciente y el saber—como un campo de intervención sostenido en la creatividad artística y dirigida a lo ‘inapropiable’ por el sistema capitalista. Así, la praxis teatral se posiciona fuera de los protocolos epistemológicos académicos orientados a la producción de conocimiento, apoyados en la reproductibilidad de la experiencia y el oficio, y centrados en el sujeto cartesiano, tal como lo plantean los estudios teatrales o la filosofía del teatro. application/pdf https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/6510 10.34096/tdf.n29.6510 spa Facultad de Filosofía y Letras, Universidad de Buenos Aires https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/6510/5740 telondefondo. Revista de Teoría y Crítica Teatral; Núm. 29 (2019); 1-22 1669-6301 praxis teatral emancipación Lacan acto performativo convivio theatrical praxis emancipation Lacan performative act convivial Theatrical Praxis an the Political: Demand, Teatristas, Audience La praxis teatral y lo político: la demanda, el teatrista, el público 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=6510_oai |
| institution |
Universidad de Buenos Aires |
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I-28 |
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R-145 |
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Repositorio Digital de la Universidad de Buenos Aires (UBA) |
| language |
Español |
| orig_language_str_mv |
spa |
| topic |
praxis teatral emancipación Lacan acto performativo convivio theatrical praxis emancipation Lacan performative act convivial |
| spellingShingle |
praxis teatral emancipación Lacan acto performativo convivio theatrical praxis emancipation Lacan performative act convivial Geirola, Gustavo Theatrical Praxis an the Political: Demand, Teatristas, Audience |
| topic_facet |
praxis teatral emancipación Lacan acto performativo convivio theatrical praxis emancipation Lacan performative act convivial |
| description |
The essay addresses the issues of theatrical praxis from what is now called Lacanian politics (Jacques-Alain Miller) and Lacanian left (Jorge Alemán, Ernesto Laclau and others). The position of the playwright is considered during the process of rehearsals and mise-en-scène, following the contributions of Lacan on the analytical act and its ethical consequences. By orienting the theatrical praxis towards a theater of emancipation and from the perspective of the performative act, it is necessary to review the concept of demand (both the artist’s and the audience’s), the political role of the heterogeneous as a brake on the progressive increase of homogeneity in neoliberal society. Hence, the discussion on the mass-people opposition, as Laclau has proposed, requires a revision of the notion of conviviality raised by Jorge Dubatti. The result is a conceptualization of the theatrical praxis - based on desire, the subject of the unconscious and knowledge - as a field of intervention sustained in artistic creativity and directed at what remains ‘inappropriate’ by the capitalist system. Thus, the theatrical praxis is positioned outside the academic epistemological protocols oriented to the production of knowledge, supported by the reproducibility of experience and craft, and centered on the Cartesian subject, as proposed by theater studies or the philosophy of theater. |
| format |
Artículo publishedVersion |
| author |
Geirola, Gustavo |
| author_facet |
Geirola, Gustavo |
| author_sort |
Geirola, Gustavo |
| title |
Theatrical Praxis an the Political: Demand, Teatristas, Audience |
| title_short |
Theatrical Praxis an the Political: Demand, Teatristas, Audience |
| title_full |
Theatrical Praxis an the Political: Demand, Teatristas, Audience |
| title_fullStr |
Theatrical Praxis an the Political: Demand, Teatristas, Audience |
| title_full_unstemmed |
Theatrical Praxis an the Political: Demand, Teatristas, Audience |
| title_sort |
theatrical praxis an the political: demand, teatristas, audience |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2019 |
| url |
https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/6510 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=6510_oai |
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AT geirolagustavo theatricalpraxisanthepoliticaldemandteatristasaudience AT geirolagustavo lapraxisteatralylopoliticolademandaelteatristaelpublico |
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