Author Noe Montez considers how theatre, as a site of activism, produces memory narratives that change public reception to a government’s transitional justice policies. Drawing on contemporary research in memory studies and transitional justice, Montez examines the Argentine theatre’s responses to the country’s transitional justice policies—truth and reconciliation hearings, trials, amnesties and pardons, and memorial events and spaces—that have taken place in the last decade of the twentieth century and the first two decades of the twenty-first century.
Montez explores how the sociohistorical phenomenon of the Teatroxlaidentidad—an annual showcase staged with the support of Argentina’s Grandmothers of the Plaza de Mayo—acted as a vehicle for drawing attention to the hundreds of children kidnapped from their families during the dictatorship and looks at why the memory narratives regarding the Malvinas Islands (also known as the Falklands) range from ideological appropriations of the islands, to absurdist commentaries about the failed war that signaled the dictatorship’s end, to the islands’ heavily contested status today.
Memory, Transitional Justice, and Theatre in Postdictatorship Argentina explores the vibrant role of theatrical engagement in postdictatorship Argentina, analyzes plays by artists long neglected in English-language articles and books, and explores the practicalities of staging performances in Latin America.
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Noe Montez is an associate professor and the director of graduate studies in drama and dance at Tufts University. His essays have been published in Theatre Topics, Latin American Theatre Review, Texas Theatre Journal, New England Theatre Journal, the Journal of Religion and Theatre, Theatre History Studies,American Theatre and the edited collection Public Theatres and Theatre Publics.
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Seller: World of Books (was SecondSale), Montgomery, IL, U.S.A.
Paperback. Condition: Good. In Memory, Transitional Justice, and Theatre in Postdictatorship Argentina, author Noe Montez considers how theatre, as a site of activism, can produce memory narratives that change the public?s reception to governmental policies that address a previous regime?s human rights violations. Drawing on contemporary research in transitional justice strategies, memory studies, and theatre history, Montez examines the Argentine theatre?s responses to the numerous changes in the country?s transitional justice policies ? truth and reconciliation hearings, trials, amnesties and pardons, and memorial events and spaces ? that have taken place in the last decade of the twentieth century and the first two decades of the twenty-first century.Montez explores how the sociohistorical phenomenon of Argentina?s Teatroxlaidentidad ? an annual showcase staged with the support of Argentina?s Grandmothers of the Plaza de Mayo ? acted as a vehicle for drawing attention to the hundreds of children kidnapped from their families during the dictatorship and why memory narratives regarding the Malvinas Islands (also known as the Falklands) range from ideological appropriations of the islands to absurdist commentaries about the failed war that signaled the dictatorship?s end, to the islands? heavily contested status today. Plays studied include El Periférico de Objetos?s Máquina Hamlet (1995), Mariana Eva Perez?s Instrucciones para una collecionista de mariposas (2002), Lola Arias?s Mi vida después (2009), and Patricio Abadi?s Isla flotante (2015).,br>This book fills an important gap in Latin American theatre history and performance studies, exploring theatrical engagement in postdictatorship Argentina, analyzing plays by artists who have not yet been addressed in English-language articles and books, and exploring the practicalities of staging performances in Latin America. Seller Inventory # CIN0809336294G
Seller: World of Books Inc, Montgomery, IL, U.S.A.
Paperback. Condition: Good. In Memory, Transitional Justice, and Theatre in Postdictatorship Argentina, author Noe Montez considers how theatre, as a site of activism, can produce memory narratives that change the public?s reception to governmental policies that address a previous regime?s human rights violations. Drawing on contemporary research in transitional justice strategies, memory studies, and theatre history, Montez examines the Argentine theatre?s responses to the numerous changes in the country?s transitional justice policies ? truth and reconciliation hearings, trials, amnesties and pardons, and memorial events and spaces ? that have taken place in the last decade of the twentieth century and the first two decades of the twenty-first century.Montez explores how the sociohistorical phenomenon of Argentina?s Teatroxlaidentidad ? an annual showcase staged with the support of Argentina?s Grandmothers of the Plaza de Mayo ? acted as a vehicle for drawing attention to the hundreds of children kidnapped from their families during the dictatorship and why memory narratives regarding the Malvinas Islands (also known as the Falklands) range from ideological appropriations of the islands to absurdist commentaries about the failed war that signaled the dictatorship?s end, to the islands? heavily contested status today. Plays studied include El Periférico de Objetos?s Máquina Hamlet (1995), Mariana Eva Perez?s Instrucciones para una collecionista de mariposas (2002), Lola Arias?s Mi vida después (2009), and Patricio Abadi?s Isla flotante (2015).,br>This book fills an important gap in Latin American theatre history and performance studies, exploring theatrical engagement in postdictatorship Argentina, analyzing plays by artists who have not yet been addressed in English-language articles and books, and exploring the practicalities of staging performances in Latin America. Seller Inventory # CIN0809336294G
Seller: Midtown Scholar Bookstore, Harrisburg, PA, U.S.A.
Paperback. Condition: Very Good. Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE Standard-sized. Seller Inventory # M0809336294Z2
Seller: Midtown Scholar Bookstore, Harrisburg, PA, U.S.A.
Paperback. Condition: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Standard-sized. Seller Inventory # M0809336294Z3