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Published online by Cambridge University Press: 15 January 2009
In NTQ15 (1988) Catherine Boyle surveyed the paradoxically rich variety of theatrical practices that have come to life in Chile under conditions of extreme hardship since the military takeover of 1973. She concluded that ‘there is more to be said about Chilean theatre and other interpretations to be made’. The following piece puts forward one such interpretation, by examining some of those practices in terms of the larger social and political questions at stake, and by drawing theatrical and historical parallels between the work of the two most important dramatists of the period – Juan Radrigán and Marco Antonio de la Parra – and the work and thought of Piscator. This article was written well before the developments that have brought Chile to the brink of a re-establishment of some kind of democracy, with the elections of December 1989 won by the opposition to Pinochet: but it still reaches an optimistic conclusion, which we can only hope is borne out by events. Enzo Cozzi is a Chilean who came to exile in Britain in the aftermath of the military coup. He now teaches in the Department of Drama at Royal Holloway and Bedford New College. University of London, and runs a puppet theatre company. Travesura, devoted to Latin American popular culture.
1. Arts Council, Erwin Piscator, Political Theatre 1920–26, catalogue of a photographic exhibition from the German Democratic Republic, organized by the Deutsche Akademie der Kunste zu Berlin (no date), p. 60.
2. Hurtado, M. and Ochsenius, C., ‘Transformaciones del Teatro Chileno en la Década del 70’, in Teatro Chileno de la Crisis Institucional, Minnesota Latin American Series and Ceneca (University of Minnesota, 1982), p. 36Google Scholar.
3. M. Hurtado and C. Ochsenius, op. cit., p. 35.
4. M. Hurtado and C. Ochsenius, op. cit., p. 36.
5. Piscator, E., Teatro Politico, ed. Ayuso, (Madrid, 1976), p. 379Google Scholar.
6. E. Piscator, op. cit., p. 320.
7. E. Piscator, op. cit., p. 379.
8. E. Piscator, op. cit., p. 379.
9. F. Wolf, Ansgrväle Werke, quoted in Stourac, R. and McCreery, K., Theatre as a Weapon (London: Routledge, 1986), p. 169Google Scholar.
10. Talleres Culturales Populares, Nacimiento del Teatro Popular Chileno, ed. Conosur, (Madrid, 1980), p. 18Google Scholar.
11. H. Vidal, ‘Cultura Nacional y Teatro Chileno Profesional Reciente’, in Teatro Chileno de la Crisis Institucional, op. cit., p. 70.
12. For example, see García, M., ‘De la Parra, Exploración en el Absurdo’, in Revista de Teatro Chileno, No. 4–5 (Madrid, 1979)Google Scholar.
13. See, for example, Schechner, R., Essays on Performance Theory (New York: Drama Book Specialists, 1977)CrossRefGoogle Scholar.
14. Mentioned by El Telón, lecture at PNL, London, 1988.
15. Brecht, Bertolt, Brecht on Theatre (London: Methuen, 1964), p. 278Google Scholar.
16. Cohen, N., in City Limits Magazine (London), 05 1988Google Scholar.
17. See Freud, S., ‘Psychopathic Characters on the Stage’, in The Standard Edition of the Complete Psychological Works (London: Hogarth Press, and the Institute of Psychoanalysis, 1953), VII, p. 303–10Google Scholar.
18. E. Piscator, op. cit., p. 369.
19. E. Piscator, op. cit., p. 381.
20. See also Gramsci, A., Selections from the Prison Notebooks, ed. Hoare, and Smith, Nowell (London: Lawrence and Wishart, 1971)Google Scholar; and Hurtado, M., ‘La Búsqueda de la Verdad en Radrigán’, in Apuntes de Teatro 95, Universidad Católica de Chile (Santiago, Primavera, 1987)Google Scholar.