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Abstract
This work is about to describe and analyze the strategy of representation that the Valencian company A Tiro Hecho built on its dramaturgy and staging called Ladran, luego cabalgamos. This paper aims to remove the references from the text and mise en scène, showing evidence of a depersonalization of the subject and also see how the places of memory are represented. The presence of Latin America, such as political ideology, becomes a common condition in the perfomative work to communicate that we are facing a possible second revolution. The theatrical languages used put us in contact with a different aesthetic game, for example: Victor Jara and his music, Violeta Parra, and Salvador Allende, Mao, 15M, among others. The contemplation of ideological landscapes lost and absent, recovering foundational memories of a socialist utopia that, in the work, comes and goes. The dramaturgy becomes fragmented in alternating speeches with a gestural composition, which adjoins the dance. This is how the body platform serves to represent/ also present a body in crisis that in the end, is repressed and punished.
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References
Badiou, A. & Tarby, F. (2013). La filosofía y el acontecimiento. Buenos Aires, Argentina: Amorrortu.
Compañía A Tiro Hecho. (2013). Ladran, luego cabalgamos. Texto sin publicar. Le Goff, Jacques El Orden de la Memoria Edit. Paidós, Bracelona.1991
Lehmann, H.-T. (2013). Teatro posdramático. España: Cendeac.
Middleton, David, Derek E. Memoria Compartida. La Naturaleza social del recuerdo y del olvido. Edit. Paidós, Barcelona.199
Saavedra, L. (2013). Teatralidad y performatividad en los juegos ejecutados en la puesta en escena de Rode’os de la compañía La Turba (tesis de magíster). Pontificia Universidad Católica de Chile, Santiago de Chile, Chile.
