English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

espanolExamino en este trabajo la irrupcion de los llamados “hijos criticos” en el teatro argentino contemporaneo, a partir de la obra teatral Los murmullos (2002), de Luis Cano, con direccion de Emilio Garcia Wehbi. Uso el concepto, siguiendo a Daniel Mundo (2016), para referirme a las obras teatrales de las generaciones que nacieron durante o despues de la epoca dictatorial o que vivieron su infancia o adolescencia en ese momento y que se caracterizan por desarrollar formas novedosas en un tipo de teatro que aborda el terrorismo de Estado. La nocion de parresia asume aqui un lugar clave, puesto que se ve extensa e intensamente realizada en Los murmullos, tanto en la dramaturgia como en la puesta en escena. En este sentido, esta obra se constituye como ejemplo paradigmatico de la postura estetica y politica de la generacion de los “hijos criticos” EnglishI examine in this paper the irruption of the so-called “critical children” in contemporary argentine theater, from the play Los murmullos (The Murmurs), by Luis Cano, directed by Emilio Garcia Wehbi. I use this concept, following Daniel Mundo (2016), to refer to the theatrical works of the generations who were born during or after the dictatorial era or who have lived their childhood or adolescence at that time, and who are characterized by developing novel forms in the theater that addresses state terrorism. The notion of parrhesia also assumes here a key place, since it looks extensive and intensely realized in Los murmullos, both in the dramaturgy and in the staging. In this sense, this play is constituted as a paradigmatic example of the aesthetic and political statement of the generation of “critical children”

Conferencia: verdad y memoria Nuevos desafíos éticos en las organizaciones globales