Performing Tlatelolco and the Past That Never Dies
Auxilio: Au secours and El pasado nunca se muere, ni siquiera es pasado
Bibliographic Data
| ID | 14998655 |
|---|---|
| Authors | Jacqueline Eyring Bixler (0000-0001-9292-8161, Latin American School of Medicine, corresponding author) |
| Year | 2020 |
| Volume | 64 |
| Issue | 4 |
| Pages | 108-128 |
| Publication date | 2020-12-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | TDR/The Drama Review (JOURNAL) |
| Journal identifiers | ISSN: 1054-2043 • E-ISSN: 1531-4715 |
| Publisher | MIT Press (PUBLISHER • US) |
| DOI | 10.1162/dram_a_00967 |
| OpenAlex | W3108939128 |
| Language | EN |
| References cited | 8 |
The 50th commemoration of the 2 October 1968 massacre of students and bystanders in the Plaza de Tlatelolco included performances that forced spectators to confront the nagging legacy of 1968 and to think collectively about what a future Mexico could look like if nothing is done to change the course of its history. Auxilio: Au secours by TeatroSinParedes and El pasado nunca se muere by Lagartijas Tiradas al Sol share a mix of genres, a tripartite structure, and spatiotemporal dislocations that oblige the audience to leave their seats, to connect the dots, and, ultimately, to determine for themselves the meaning of each work
Art · Art history · Meaning (existential · Nagging · Nothing · Arts and Performance Studies · Critical Theory and Political Philosophy · History · Philosophy · Political and Social Dynamics in Chile and Latin America · Psychology
| Highly cited | No |
|---|