Where the Body Appears: Memory and Mourning on Scene

Authors

  • Gustavo Radice Universidad Nacional de La Plata, Facultad de Artes, Instituto de Historia del Arte Argentino y Americano

DOI:

https://doi.org/10.24215/23142502e086

Keywords:

Contemporary theatre, female body, memory, mourning, performance

Abstract

This article analyzes the theatrical work In humanas Soplan Mujeres (2019) through a dialogue between three theoretical perspec tives: Luis Hornstein’s notions of open sys tem and organizing chance, Isidoro Berens tein’s concepts of event and bond structure, and the categories of broken body, iconogra phy of pain and communitas developed by Ileana Diéguez in Escenarios liminales. It is proposed that the work constructs a drama turgy of the female body image understood as a liminal device where the performers’ bo dies become a living archive, irrupt as thea tricalities of the real and open the possibility of collective mourning.

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References

Berenstein, I. (2004). Devenir otro con otro(s). Acompañando la clínica cotidiana. Paidós.

Diéguez, I. (2013a). Cuerpos sin duelo. Iconografías y teatralidades del dolor. Ediciones DocumentA/Escénicas.

Diéguez, I. (2013b). Necroteatro. Iconografías del cuerpo roto y sus registros punitivos. Investigación Teatral, 3(5), 9-28. https://doi.org/10.25009/it.v3i5.951

Diéguez, I. (2014). Escenarios liminales: Teatralidades, performances y política. Atuel.

Dolto, F. (1984). La imagen inconsciente del cuerpo. Paidós.

Hornstein, L. (2003). Intersubjetividad y Clínica. Paidós.

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Published

2026-10-05

How to Cite

Radice, G. (2026). Where the Body Appears: Memory and Mourning on Scene. Boletín de Arte, (28), e086. https://doi.org/10.24215/23142502e086

Issue

No. 28 (2026): Boletín de Arte 28

Section

Articles

License

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