Introduction

Notes

Introduction

1. Discépolo, Stéfano, 135. 2. Throughout the book, all translations are mine, unless specified otherwise. 3. Halbwachs, On Collective Memory, 38. 4. Hirsch, Family Frames, 22. See also Hirsch’s “The Generation of Postmem- ory,” 103–128. 5. Jelin, Los trabajos de la memoria, 124. 6. Filc, Entre el parentesco y la política. Familia y dictadura, 1976–1983, 39. 7. Graham-Jones, Exorcising History, Argentine Theater under Dictatorship, 28. For recent scholarship on the discourse of family as it relates to construc- tions of national identity in Latin American Theatre, see Camilla Stevens’ Family and Identity in Contemporary Cuban and Puerto Rican Drama, and Sharon Magnarelli’s Home is Where the (He)art Is. The Family Romance in Late Twentieth-Century Mexican and Argentine Theater. 8. Filc, Entre el parentesco y la política. Familia y dictadura, 1976–1983, 66. 9. Amado and Domínguez, Lazos de familia. Herencias, cuerpos, ficciones, 20. 10. Taylor, Disappearing Acts: Spectacles of Gender and Nationalism in Argentina’s “Dirty War,” 34. 11. For an excellent analysis comparing the uses of family discourse under democracy in Argentina and South Africa, see Kerry Bystrom’s “The Pub- lic Private Sphere: Family Narrative and Democracy in Argentina and South Africa.” 12. Amado and Domínguez, Lazos de familia. Herencias, cuerpos, ficciones, 14. 13. Filc, Entre el parentesco y la política. Familia y dictadura, 1976–1983, 96. 14. Navarro, “The Personal is Political: las Madres de Plaza de Mayo;” Jelin, Women and Social Change in Latin America. 15. Beck, What is Globalization, 12. 16. Rebellato, Theatre & Globalization, 30. 17. Hernández, El teatro de Argentina y Chile. Globalización, resistencia y desencanto, 22. Hernández cites Roland Robertson’s Globalization: Social Theory and Global Culture, in her discussion of the fragility of humanity. 18. Nicholson, Applied Drama, 132. 19. See Montez’s Staging Post-memories: Commemorative Argentine Theatre, 1989–2003 for a fine discussion of the relationship between commemora- tion, postmemory, and contemporary Argentine theatre. 210 N OTES

20. Arendt, The Origins of Totalitarianism, 269. 21. Beck, What is Globalization?, 15. 22. Teitel, “For Humanity,” 234. 23. This definition taken from the preamble of the Rome Statute, quoted in Schabas, An Introduction to the International Criminal Court, 21. 24. Teitel, “For Humanity,” 231. 25. Silva, Challenging Neoliberalism in Latin America, 57. 26. Scheper-Hughes, “The Ends of the Body: Commodity Fetishism and the Global Traffic in Organs,” 62. 27. Proyecto Filoctetes has been performed in cities around the world, including Vienna in 2002 and Berlin in 2004. 28. Svampa, Los que ganaron, 15. 29. See van der Kolk and van der Hart’s discussion of Freud’s theory of trauma put forth in Inhibitions, Symptoms, and Anxiety in “The Intrusive Past,” 166. 30. Herman, Trauma and Recovery, 177. 31. White, The Content of the Form, 20. 32. Jelin, Los Trabajos de la memoria,6. 33. Jelin, Monumentos, memoriales y marcas territoriales,4. 34. White, The Content of the Form, 24. 35. Slaughter, Human Rights, Inc., 4. 36. Feldman, “Memory Theaters, Virtual Witnessing, and the Trauma- Aesthetic,” 164. 37. Schaffer and Smith, “Human Rights, Storytelling, and the Position of the Beneficiary: Antjie Krog’s Country of My Skull,” 1577. 38. Méndez, “Afterword,” 162. 39. Feldman, “Memory Theaters, Virtual Witnessing, and the Trauma- Aesthetic,” 170. 40. Diana Taylor proposes the use of the word “scenario” to emphasize the importance of paying attention to “milieux and corporeal behaviors such as gestures, attitudes, and tones not reducible to language,” in The Archive and the Repertoire, 28. 41. Huyssen, Present Palimpsests,8. 42. Taylor, The Archive and the Repertoire,3. 43. See Schechner, Performance Theory; Carlson, The Haunted Stage, and Roach, Cities of the Dead. Circum-Atlantic Performance. 44. Trastoy, Teatro autobiográfico,9. 45. Kershaw, The Politics of Performance: Radical Theatre as Cultural Interven- tion,1. 46. Bennett, Theatre Audiences, 156. 47. Goffman, Frame Analysis, 10. 48. Schechner, The Future of Ritual, 41. 49. Novaro and Palermo, La dictadura militar 1976–1983: del golpe de estado a la restauración democrática, 492. 50. CONADEP, Nunca Más, 11. N OTES 211

51. See Victoria Ginzburg’s article, “De los dos demonios al terrorismo de Estado,” Página 12, May 15, 2006. 52. Novaro and Palermo, La dictadura militar 1976–1983: del golpe de estado a la restauración democrática, 492. 53. CONADEP, Nunca Más,8. 54. Novaro and Palermo, La dictadura militar 1976–1983: del golpe de estado a la restauración democrática, 493. 55. Cohen, States of Denial, 14. 56. Graham-Jones, Exorcising History, 121. 57. For a rebuttal against claims of trial ineffectiveness see Sikkink and Booth Walling’s “The Impact of Human Rights Trials in Latin America”. 58. Malamud-Goti, Game Without End,7. 59. Felman, The Juridical Unconscious, 107, 96. 60. The aim of the escrache, a form of public protest and urban intervention orga- nized by H.I.J.O.S., is to locate, expose, and publicly shame the ex-repressor ﬁgure, making neighbors aware that they are living next to a criminal who has not been held accountable for abuses committed under dictatorship. See chapters 3 and 6 for more on the escrache. 61. http://www.hijos-capital.org.ar/. 62. See description of theatre-going experience in Beatriz Trastoy and Perla Zayas de Lima, Lenguajes escénicos, 151. 63. Personal interview with Daniel Veronese. May 2006. 64. Felman, The Juridical Unconscious,8. 65. See Leigh Payne’s Unsettling Accounts. 66. Laub, “Bearing Witness or the Vicissitudes of Listening,” 84.

Chapter 1

1. Crenzel, La historia política del Nunca Más, 18. 2. For studies on transitional justice, see Teitel, Transitional Justice; Kritz, ed., Transitional Justice; Barahona de Brito, Carmen González-Enríquez and Paloma Aguilar, The Politics of Memory; Jelin and Hershberg, Constructing Democracy; Guillermo O’Donnell, Transitions from Authoritarian Rule. 3. La Comisión Nacional sobre la Desaparición de Personas (National Com- mission on the Disappeared). 4. The original Nunca Más report (1984) first identified 8,960 disappeared though the estimated number of disappeared held by most official organiza- tions and human rights groups has risen to 30,000. See Hayner, Unspeakable Acts, 33. 5. Crenzel, La historia política del Nunca Más, 117. 6. Sikkink cites Hayner’s observation that Uganda and Bolivia established truth commissions before Argentina in 1974 and 1982, but notes that neither of these countries published a final report. “From Pariah to Global Protagonist: Argentina and the Struggle for International Human Rights,” 4; Hayner, Unspeakable Truths, 51–53. 212 N OTES

7. Sikkink and Booth Walling, “The Impact of Human Rights Trials in Latin America,” 430. 8. Jelin, “La política de la memoria: el movimiento de derechos humanos y la construcción democrática en la Argentina,” 138. 9. Specifically, CONADEP referred 1086 cases to the Justice system. Nino, Juicio al mal absoluto, 133–34. 10. Crenzel, La historia política del Nunca Más, 124. 11. Feld, Del estrado a la pantalla: Las imágenes del juicio a los ex comandantes en Argentina, 18. 12. Kaufman, “El ritual jurídico en el juicio a los ex comandantes. La desnatu- ralización de lo cotidiano,” 9–10. 13. Feld, Del estrado a la pantalla: las imágenes del juicio a los ex comandantes en Argentina, 1. 14. Feld, Del estrado a la pantalla, 36; González Bombal, “Nunca más,” 211. 15. Cámara Federal, Acordada 14, March 27, 1985. Qtd. In Feld, Del Estrado a la pantalla, 20–21. Feld cites the incident in which the president of the Madres, Hebe de Bonafini, was told she must remove her white handkerchief from her head while in the courtroom, to which Bonafini responded that if the military were allowed to wear their uniforms, she should be allowed to wear her head scarf. Del estrado a la pantalla, 21. 16. Arendt, Eichmann in Jerusalem, 209. 17. The complete name is “The Final Document by the Military Junta on the War against Subversion and Terrorism” [Documento Final de la Junta Militar sobre la Guerra contra la Subversión y el Terrorisimo]. 18. Acuña and Smulovitz, “Adjusting the Armed Forces to Democracy,” 16. 19. González Bombal, “Nunca Más,” 208. 20. Teitel, Transitional Justice, 6. 21. González Bombal, “Nunca Más,” 208. 22. Crenzel, La historia política del Nunca Más, 110. 23. Crenzel, La historia política del Nunca Más, 139; Kaufman, “El ritual jurídico en el juicio a los ex comandantes. La desnaturalización de lo cotidiano,” 18. 24. CELS (Center for Legal and Social Studies/Centro de Estudios Legales y Sociales). Pre-existing human rights groups include SERPAJ (In Service of Peace and Justice/Servicio Paz y Justicia); APDH (Permanent Assembly of Human Rights/Asamblea Permanente por los Derechos Humanos). 25. Jelin, “La política de la memoria: El movimiento de derechos humanos y la construcción democrática en la Argentina,” 106. 26. Sikkink, “From Pariah State and Global Protagonist: Argentina and the Struggle for International Human Rights,” 1. 27. González Bombal, “Nunca Más,” 215. 28. Federación Argentina de Colegios de Abogados. 29. Nino, Juicio al mal absoluto, 115. 30. Feld, Del estrado a la pantalla: Las imágenes del juicio a los ex comandantes en Argentina, 36. 31. Of the nine generals tried, Jorge Rafael Videla and Emilio Eduardo Massera were condemned to life in prison, Roberto Eduardo Viola received seventeen N OTES 213

years, Armando Lambruschini eight, and Orlando Ramón Agosti four and a half. Omar Domingo Rubens Grafigna, Leopoldo Galtieri, Jorge Isaac Araya, and Basilio Lami Dozo were asbolved. Nino, Juicio al mal absoluto, 144. 32. The production of Señores was under the supervision of Télam, the official news agency. Feld, Del Estrado a la pantalla: Las imágenes del juicio a los ex comandantes en Argentina, 67–74. 33. The Carapintadas (painted/camuflaged faces) Movement comprised an extremist, right-wing faction of the military that staged a series of uprisings between 1987 and 1990 against Presidents Alfonsín and Menem to denounce the judicial proceedings carried out against the military for their crimes committed during the dictatorship. 34. ESMA (Escuela Mecánica de la Armada/The Navy Mechanics School). 35. Taylor, Disappearing Acts, 122. 36. Felman, The Juridical Unconscious, 55. 37. See legal versus literary justice in Felman’s The Juridical Unconscious, 8. 38. Cohen, States of Denial, 226. 39. Interview with Laura Yusem, November 2004. 40. Pellettieri, “El sonido y la furia: Panorama del teatro de los ’80 en la Argentina,” 47. 41. Lusnich, “Cambio y continuidad en el realismo crítico de Griselda Gambaro y Eduardo Pavlovsky,” 346; Pellettieri, “Estudio preliminar,” 30. 42. Arlt, “Los ’80—Gambaro—Monti—y más allá ...,” 49–58. 43. Tarantuviez, La escena del poder. El teatro de Griselda Gambaro, 128. Tarantuviez’s analysis builds on Kirsten Nigro’s study of the feminine subtext present in Gambaro’s silences in earlier works. Nigro, “Discurso femenino y el teatro de Griselda Gambaro,” 65. 44. Gambaro, Antígona furiosa, 197. 45. Puga, Memory, Allegory, and Testimony in South American Theater, 183. 46. Felman, The Juridical Unconscious, 4. 47. Pellarolo, “Revisando el canon/la historia oficial: Griselda Gambaro y el heroismo de Antígona,” 7. 48. Braun de Dunayevich and Pelento. “Las vicisitudes de la pulsión de saber en ciertos duelos especiales,” 89. 49. Mogliani, “Antígona furiosa de Griselda Gambaro y su intertexto griego,” 102. 50. See Taylor’s Disappearing Acts; Nieves Martínez de Olcoz’s “Cuerpo y resistencia en el reciente teatro de Griselda Gambaro,” and Marla Carlson’s “Antigone’s Bodies: Performing Torture.” 51. On her decision to create a version of Antigone, Yusem comments, “No tuve otra opción en este momento. No fue una elección pensada—fue visceral” [I didn’t have an option at that moment. It wasn’t a contemplated decision— it was visceral]. Personal interview, November 2004. 52. Gambaro, Antígona furiosa, 202. 53. Quiroga, “Entrevista con Laura Yusem,” 10. 54. Trastoy and Zayas de Lima, Los lenguajes no verbales en el teatro argentino, 29. 214 N OTES

55. See Chapter 1 of Taylor’s The Archive and the Repertoire and Connerton’s How Societies Remember, 39. 56. Boss, Ambiguous Loss, 5–6. 57. Da Silva Catela, No habrá flores en la tumba del pasado, 114–15. 58. Rose, Mourning and the Law, 36. 59. Feld, Del estrado a la pantalla: Las imágenes del juicio a los ex comandantes en Argentina, 42. 60. González Bombal, “Nunca Más: El Juicio más allá de los estrados,” 211. 61. Trastoy, Teatro autobiográfico, 9. 62. Taxidou, Tragedy, Modernity and Mourning, 176. 63. Goldhill, How to Stage Greek Tragedy Today, 150. 64. Feld, Del estrado a la pantalla: Las imágenes del juicio a los ex comandantes en Argentina, 36. 65. Taxidou, Tragedy, Modernity and Mourning, 24. 66. Taylor, Disappearing Acts, 188–89. 67. Jelin, “La política de la memoria: el movimiento de derechos humanos y la construcción democrática en la Argentina,” 110. 68. See Hebe de Bonafini’s speech from conference on July 6, 1988: http:// www.madres.org. 69. Guest, Behind the Disappearances, 383. 70. Jelin, “La política de la memoria: el movimiento de derechos humanos y la construcción democrática en la Argentina,” 130. 71. Taylor, Disappearing Acts, 220. 72. Roffé, “Interview: Griselda Gambaro,” 114. 73. Segal, “Catharsis, Audience, and Closure,” 157. 74. Steiner, Antigones, xi. 75. Lacan, “The Splendor of Antigone,” 247. 76. Hall, “Is there a Polis in Aristotle’s Poetics?,” 305. 77. Gambaro, Antígona furiosa, 197. 78. Castellví deMoor, Dramaturgas argentinas. Teatro, política y género, 29; Pellarolo, “Revisando el canon/La historia oficial: Griselda Gambaro y el heroismo de Antígona,” 82. 79. Taylor, Disappearing Acts, 221. 80. Pellarolo, “Revisando el canon/la historia oficial: Griselda Gambaro y el heroismo de Antígona,” 84. 81. See Anna Krajewska-Wieczorek’s account of her experience as dramaturg for Sophocles’ Antigone in “Two Contemporary Antigones,” 329. 82. Carlson, “Antigone’s Bodies: Performing Torture,” 390. 83. Gambaro, Antígona furiosa, 216. 84. Wannamaker, “Memory Also Makes a Chain,” 79. 85. Sophocles, Antigone, 126. 86. Puga notes that the four different stagings of Antígona furiosa spanned from 1986 to 1988, during which time both the Final Stop Law and the Law of Due Obedience were approved. Memory, Allegory, and Testimony in South American Theater, 184. N OTES 215

87. Nino, Juicio al mal absoluto, 140. 88. Barahona de Brito, González-Enriquéz, and Aguilar, The Politics of Mem- ory, 140. 89. Taylor, Disappearing Acts, 213. 90. Laub, “Bearing Witness or the Vicissitudes of Listening,” 68. 91. Gambaro, Antígona furiosa, 201. 92. Agger and Buus Jensen, Trauma and Healing under State Terrorism, 154. 93. Cohen, States of Denial, 15.

Chapter 2

1. Crenzel, La historia política del Nunca Más, 93. 2. Arlt, “Los ’80—Gambaro—Monti—y más allá ...,” 56. 3. Marechal, “Antígona Vélez” y “Las tres caras de Venus,” 47. 4. “Con Antígona Vélez inicia su temporada el Teatro Cervantes,” 20. 5. Again, these are most notably the Final Stop Law (1986) and Due Obedi- ence Law (1987). I have adapted the phrase “collapse of witnessing” from Dori Laub’s usage in “An Event Without a Witness: Truth, Testimony and Survival,” 75. 6. Mazziotti, “Antígona: el poder y la crisis,” 4. 7. Filc, Entre el parentesco y la política. Familia y dictadura, 1976–1983, 41. 8. Here the river is an allusion to the River Plate, where drugged prisoners were thrown to their deaths from military planes during the dictatorship. 9. Gambaro dedicates the play to the group of young students disappeared in La Plata, Argentina on September 16 and 17, 1976, commonly referred to as “la noche de los lápices” [the night of the pencils]. The group of students had been protesting to lower the student bus fare, a form of activism deemed “subversive” by the military. 10. Gambaro, Atando cabos, 23. 11. See Castellvi deMoor’s analysis of Atando cabos in “Atando cabos de Griselda Gambaro o narrando la nación.” 12. See Francine A’Ness’s discussion of Yuyachkani’s collaboration with the Truth and Reconciliation Commission in Peru. A’Ness observes, “It was thought that the semiotically rich and evocative power of theater, when combined with the ritual nature of the event, might help mark the postwar transi- tion, dignify its victims, honor the dead and disappeared, and thus prompt people to come forward and speak publicly to the Commission without fear.” In “Resisting Amnesia: Yuyachkani, Performance, and the Postwar Reconstruction of Peru,” 397. 13. Taylor, The Archive and The Repertoire, 207. 14. Sikkink, “From Pariah State to Global Protagonist: Argentina and the Struggle for International Human Rights,” 7. 15. “Señora” (woman, lady) does not translate very well here. In the play, the Señora plays the role of the mother of the wife and grandmother to the girl. 216 N OTES

16. This emphasis on strong intragenerational ties recalls the “deep, horizon- tal comradeship” envisioned by Benedict Anderson in Imagined Commu- nites, 16. 17. Gambaro, Antígona furiosa, 217. 18. Gambaro, La persistencia, 18. 19. Verónica Pagés, “El horror detrás del horror,” La Nación, June 17, 2007. 20. Ibid. 21. Roffé, “Entrevista a Griselda Gambaro,” 115. 22. Verónica Pagés, “El horror detrás del horror,” La Nación, June 17, 2007. 23. The title “La casa sin sosiego” recalls Alfonsín’s famous announcement made on the balcony of the House of Government in April 1987: “La casa está en orden y no hay sangre” [The house is in order and there is no blood]. Alfonsín made this statement after a private meeting with the leader of the Carapintada military uprisings, Aldo Rico, in which Alfonsín promised signiﬁcant concession to the military in an attempt to establish stability. 24. Ovid, “Book X. Orpheus and Eurydice,” Metamorphoses, 2004. 25. Gambaro, La casa sin sosiego, 33. 26. Suárez-Orozco, “The Heritage of Enduring a ‘Dirty War’: Aspects of Terror in Argentina, 1976–1988,” 494. 27. Arditti, Searching For Life, 95. 28. See Amado, “Herencias. Generaciones y duelo en las políticas de la memoria,” 5. 29. Gelman, “Carta abierta a mi nieto.” 30. Walsh writes, “He visto la escena con sus ojos” [I have seen the scene with her eyes]. http://www.rodolfowalsh.org/spip.php?article34. 31. Amado, “Herencias, generaciones y duelo en las políticas de la memoria,” 142. 32. Filc, Entre el parentesco y la política. Familia y dictadura, 1976–1983, 83. 33. Novaro and Palermo, La dictadura militar, 467. 34. Vitullo, Ficciones de una guerra. La Guerra de Malvinas en la literatura y el cine argentinos, 79. 35. Lorenz, Las guerras por Malvinas, 122–125; Bustos, El otro frente de la guerra. Los Padres de las Malvinas, 38. 36. Other plays that discuss the Malvinas/Falklands War to some extent include Vicente Zito Lema’s Gurka (1988), with a cast that included Malvinas vet- erans from the Psychiatric Hospital José Tiburcio Borda; Beatriz Mosquera’s La soga (1991) ; Jorge Leyes’ Bar Ada (1997); Alejandro Acobino’s Continente Viril (Viril Continent, 2003), staged by the theater group Los Macocos; and Museo Miguel Ángel Boezzio (Miguel Ángel Boezzio Museum, 1998), a monologue by Boezzio, who is a Malvinas veteran, in conjunction with Vivi Tellas’ Proyecto Museos. Films on Malvinas include Los chicos de la guerra (The Boys from the War, 1984), directed by Bebé Kamin; El visitante (The Visitor, 1999), directed by Javier Olivera; Fuckland (2000), directed by José Luis Marqués; and Iluminados por el fuego (Blessed by Fire, 2005), written by Tristan Bauer and Miguel Bonasso and directed by Bauer. N OTES 217

37. Lorenz, Las guerras por Malvinas, 188. 38. Feinman, “La guerra y la gloria,” Radar, March 31, 2002. Qtd. in Lorenz, Las guerras por Malvinas, 298. 39. “Big rise in Argentine Kidnappings,” BBC News, June 20, 2004. 40. Fernando Rodríguez, “La clase media, ajena a los llamados de la política, fue la que salió a las calles,” La Nación, April 2, 2004. 41. Bartolomé De Vedia, “La verdadera voz de la mayoría silenciosa,” La Nación, April 2, 2004. 42. “Quiero llegar a la verdad,” La Nación, April 1, 2004. 43. Bartolomé De Vedia, “La verdadera voz de la mayoría silenciosa,” La Nación, April 2, 2004. 44. Sergio Sinay, “Juan Carlos Blumberg, un padre,” La Nación, April 16, 2004. 45. “Blumberg, entre críticas y apoyos. Diferencias sobre la nueva marcha,” La Nación, August 24, 2004. 46. “Madres del Dolor dicen no a la marcha de Blumberg,” La Nación, August 25, 2004. 47. Luis Bruschtein, “El difícil equilibrio de Blumberg,” Página 12, August 27, 2004. 48. Victoria Ginzburg, “Para no hacer diferencias entre víctimas,” Página 12, August 28, 2004. 49. “Caso Blumberg: Legítimo reclamo,” La Nación, August 30, 2004. 50. “Declaran la inconstitucionalidad de una ley que impulsó Blumberg,” Página 12, March 29, 2006. 51. Antonelli, “Dramatología de una ley que encontró su(s) cuerpo(s). En nombre del padre,” 2. 52. “Declaran la inconstitucionalidad de una ley que impulsó Blumberg,” Página 12, March 29, 2006.

Chapter 3

1. Arlt, Saverio el cruel (Saverio the Cruel, 1936); Pavlovsky, El señor Galíndez (1973), El señor Laforgue (1983). 2. The word “potestad” is often translated as “power” or “authority” in English. The term “patria potestad” refers more speciﬁcally to the exercise of parental authority. Rita Arditti writes, “Isabel Perón’s government had instituted a series of measures that reinforced the subordinate position of women in the family. The president herself had vetoed the ‘patria potestad,’ a law that would have given both parents the same legal rights over their children,” Searching for Life, 79. In the play Potestad, the Hombre’s omnipotence onstage alludes to this measure. 3. For a list of plays censored during the Proceso, see Juana Arancibia and Zulema Mirkin (20). 4. Lusnich, “Cambio y continuidad,” 350. 5. Cosentino, Eduardo Pavlovsky: Una charla con Olga Cosentino, 11. 218 N OTES

6. Pavlovsky’s plays are strikingly absent from Buenos Aires’s ofﬁcial the- atres, The Teatro Municipal General San Martín and the Teatro Nacional Cervantes. 7. Dubatti, La ética del cuerpo, 24. 8. Lyons, The Theatrical Space, 27. 9. See Bixler, “Signs of Absence in Pavlovsky’s ‘teatro de la memoria.” 10. Dubatti, La ética del cuerpo, 116. 11. Pavlovsky, Potestad, 169. 12. Dubatti, La ética del cuerpo, 116. 13. Bixler, “Signs of Absence in Pavlovsky’s ‘teatro de la memoria’,” 17. 14. Pavlovsky, Potestad, 187. 15. Schechner, Performance Theory, 170. 16. Walter Goodman, “Pavlovsky Marathon Broods over the Past,” New York Times, June 17, 1988. 17. Graham-Jones, Exorcising History, 130. 18. Dubatti, “Estudio preliminar,” Teatro Completo I, 15. 19. Foster, “Ambigüedad verbal y dramática en El señor Galíndez de Eduardo Pavlovsky,” 56. 20. Pavlovsky, Potestad, 186. 21. Avellaneda, “Hablar y callar: construyendo sentido en la democracia,” 38. 22. Dubatti, La ética del cuerpo, 67. 23. Castellvi deMoor, “Eduardo Pavlovsky: teatro de deformación y denuncia,” 87. 24. See Hannah Arendt’s Eichmann in Jerusalem: A Report on the Banality of Evil. 25. Pavlovsky, “Denuncia de una represión futura,” Micropolítica de la Resisten- cia, 56. 26. See William G. Acree’s article “The Trial of Theatre: Fiat iustitia, et pereat mundus” for a discussion of Ariel Dorfman’s Death and the Maiden (1990) as another play exemplifying theatre’s role in uncovering truths not revealed in legal proceedings or state-sanctioned commissions, such as Chile’s Rettig Report. 27. Pavlovsky adapts the idea of the family as microfascism from Wilhelm Reich’s Psicología de masas del fascismo (qtd. in Teatro completo I 21). 28. See Diana Taylor’s analysis of Pavlovsky’s play Paso de dos (Pas de deux) for a discussion on the dangers of replicating authoritarian discourse through theatrical performance of torture, Disappearing Acts, 1–27. 29. Cosentino, Una charla con Olga Cosentino. Eduardo Pavlovsky: soy como un lobo, siempre voy por el borde, 65. 30. Bixler, “Signs of Absence in Pavlovsky’s ‘teatro de la memoria’,” 22. 31. Dubatti, La ética del cuerpo, 125. 32. Pavlovsky, Pablo, 139. 33. Pellettieri, “La puesta en escena argentina de los ’80: Realismo, estilización y parodia,” 13–28. 34. Mogliani, “La concepción “La concepción escénica de Laura Yusem: la estilización del realismo,” 165. N OTES 219

35. Dubatti, La ética del cuerpo, 129. 36. Luis Mazas, “Pablo: un texto seductor y una puesta que lo realza,” Clarín, January 14, 1987, 10. 37. Dubatti, La ética del cuerpo, 127. 38. Mogliani, “La concepción escénica de Laura Yusem: la estilización del realismo,”162. 39. In my analysis I use the most recent publication of the dramatic text Poroto (Nueva versión), premiered in 1998 and published in 2000. 40. Bulman, Staging Words, Performing Worlds, 126. 41. Pavlovsky, Poroto, 87. 42. Dubatti, “Estudio Preliminar,” Teatro completo III, 14. 43. Pavlovsky, Poroto, 113. 44. Dubatti, “Estudio Preliminar,” Teatro completo III, 13. 45. Dubatti, La ética del cuerpo, 85. 46. Dubatti, “Estudio Preliminar,” Teatro completo III, 15. 47. Pavlovsky, “La complicidad civil,” Micropolítica de la Resistencia, 167. 48. Carlson, Performance, 15. 49. Pavlovsky, “El fenómeno ‘entre’,” Micropolítica de la Resistencia, 139. 50. Dubatti borrows the term “epistemological metaphor” from Umberto Eco’s Obra Abierta and applies it to Pavlovsky’s second dramatic version of Poroto. Teatro completo III, 22. 51. Seoane and Nuñez, La noche de los lápices, 228. 52. For more on Pavlovsky’s use of intertextuality in his later work, see Woodyard’s “Rojos globos rojos de Pavlovsky: intertextualidad y aspectos pos- modernistas”; Dubatti’s “Estudio Preliminar. Teatro Completo III”; Giella’s “Existir, resistir y persistir: Rojos globos rojos de Eduardo Pavlovsky”; and Lusnich’s “Cambio y continuidad en el realismo crítico de Griselda Gambaro y Eduardo Pavlovsky.” 53. The screenplay of Potestad, adapted from the play, was cowritten by D’Angiolillo and Ariel Sienra. 54. Gabriela Saidón, “Memorias del subsuelo,” Clarín, May 7, 2003. 55. In the ﬁlm Potestad the main character is named Eduardo, a self-reference and allusion to the young apprentice and ideologue of torture in Pavlovsky’s play El señor Galíndez. 56. The slogan “Somos derechos y humanos” plays on the word “derecho,” to mean both right and decent, and alludes to “derechos humanos” or “human rights” in Spanish. 57. Gabriela Saidón, “Memorias del subsuelo,” Clarín, May 7, 2003. 58. Vezzetti, “Activismos de la memoria: El ‘escrache’,” 3. 59. Taylor, The Archive and the Repertoire, 165. 60. Pavlovsky, “Nuevos testigos,” Clarín, June 26, 1998. 61. Boal, Theatre of the Oppressed, 27. 62. Feldman, “Memory Theaters, Virtual Witnessing, and the Trauma- Aesthetic,” 164. 63. See Feitlowitz, “The Scilingo Effect,” A Lexicon of Terror. 220 N OTES

64. See Leigh Payne’s discussion of “vital lies” in her book Unsettling Accounts: Neither Truth Nor Reconciliation in Confessions of State Violence, 21. 65. Nunca Más, 235. See also Feitlowitz, “The Scilingo Effect,” A Lexicon of Terror, 198. 66. Verbitsky, The Flight, 3. 67. Feitlowitz, “The Scilingo Effect,” A Lexicon of Terror, 199–200. 68. Verbitsky, The Flight, 150. 69. Feitlowitz, “The Scilingo Effect,” A Lexicon of Terror, 204. 70. Verbitsky, The Flight, 151. 71. Feitlowitz, “The Scilingo Effect,” A Lexicon of Terror, 201. 72. Verbitsky, The Flight, 7. 73. Payne, Unsettling Accounts, 19. 74. See Chapter 1. 75. Feitlowitz, “The Scilingo Effect,” A Lexicon of Terror, 241. 76. Payne, Unsettling Accounts, 3. See also Catherine Cole’s “Performance, Tran- sitional Justice, and the Law: South Africa’s Truth and Reconciliation Commission,” 167–87. 77. In 1998 the Argentine Congress revoked the Final Stop (1986) and Due Obedience (1987) laws, though the decision did not apply retroactively. In 2003 Congress annulled the laws, followed by the Supreme Court decision to annul the laws in 2005. 78. Teitel, “For Humanity,” 227. 79. Juan Carlos Algañaraz, “El represor Scilingo fue condenado en Madrid a 640 años de cárcel,” Clarín, April 20, 2005. 80. Landsman, “Legal History”. 81. Derrida, “On Forgiveness,” On Cosmopolitanism and Forgiveness, 28. 82. “La audiencia nacional condena a Scilingo a 640 años de cárcel por genocidio y torturas,” El País, April 19, 2005. 83. “Sentencia histórica,” El País, April 20, 2005. 84. Feitlowitz, “The Scilingo Effect,” A Lexicon of Terror, 195. 85. “Sentencia histórica,” El País, April 20, 2005. 86. “Dijo que su confesión fue ‘una fantasía’, ” La Nación, June 20, 2005. 87. “Scilingo negó su participación en los ‘vuelos de la muerte’, ” La Nación. January 17, 2005. 88. “No tengo idea de los desaparecidos,” La Nación, January 20, 2005. 89. “Finalizó la primera audiencia del juicio contra Scilingo,” La Nación, January 14, 2005. 90. Juan Carlos Algañaraz, “En su primer día de juicio oral, Scilingo simuló desmayo,” Clarín, January 15, 2005. 91. Silvia Pisani, “Scilingo enfrentó el juicio en silla de ruedas y adormecido,” La Nación, January 15, 2005. 92. Ibid., January 19, 2005. 93. José Yoldi, “La acusación lee ante Scilingo los nombres de 193 desaparecidos,” El País, January 20, 2005. 94. Pavlovsky, “El señor Laforgue,” Micropolítica de la resistencia, 116. N OTES 221

95. The Abuelas initiated efforts to establish the National Genetic Data Bank (Banco Nacional de Datos Genéticos) in 1987 to serve this purpose.

Chapter 4

1. The Buenos Aires Herald speculates in retrospect that Luder probably would have won were it not for the unfortunate cofﬁn-burning incident, “Herminio Iglesias, justicialista y trabajador,” Buenos Aires Herald, February 19, 2007. 2. Martin Prieto, “La resistible ascensión de Herminio Iglesias,” El País, November 6, 1983; Susana Viau, “Murió Herminio, el del cajón,” Página 12, February 17, 2007. 3. See Nino, Juicio al mal absoluto, 118. 4. Pellettieri, “La crueldad trascendida,” 17. 5. This episode was mentioned in the press and academic journals in Argentina and recently has been discussed in Ana Elena Puga’s Memory, Allegory, and Testimony in South American Theater. The version of events described here was taken from a conversation with Laura Yusem (May 2004), the director of the play, who was present during the episode. 6. The Montoneros were a Peronist-associated guerrilla militancy group active during the sixties and seventies. 7. Bennett, Theatre Audiences, 205. 8. Guber, Por qué Malvinas? 47. 9. Taylor, Disappearing Acts, 92–93. 10. Carlson, The Haunted Stage, 10. 11. Prieto, Proyección del rosismo en la literatura argentina, 14. 12. Rock, Argentina 1516–1987. From Spanish Colonization to Alfonsín, 105. 13. Nino, Juicio al mal absoluto, 97. 14. Rock, Argentina 1516–1987. From Spanish Colonization to Alfonsín, 106. 15. Novaro and Palermo, La dictadura militar, 467. 16. Zayas de Lima, “Censura teatral en Buenos Aires en la época del Proceso,” 263. 17. See Puga, Memory, Allegory, and Testimony in South American Theatre; Nuetzel, “Of Melons, Heads, and Blood”; Magnarelli, “Authoring the Scene”; Giordano, “La malasangre de Griselda Gambaro”; Foster, “La malasangre de Griselda Gambaro”; Boling, “Reyes y Princesas”; Nigro, “Dis- curso femenino y el teatro de Griselda Gambaro”; Messinger Cypess, “La dinámica del monstruo.” 18. Under Rosas, “melones” referred to decapitated heads. The color red is associated with the Rosas regime because the dictator made it obligatory for everyone to wear a red ribbon (la divisa punzó) in support of his federation. Many opponents to the Rosas regime sought refuge in Montevideo. The mazorqueros belonged to La mazorca, Rosas’s secret police known for their cruelty and ruthlessness in carrying out Rosas’s orders. 19. González Bombal. Qtd. in Novaro and Palermo, La dictadura militar, 485. 20. Novaro and Palermo, La dictadura militar, 485. 222 N OTES

21. Ibid., 504; Nino, Juicio al mal absoluto, 114. 22. Halperin Donghi, “El presente transforma el pasado,” 74. 23. Novaro and Palermo, La dictadura militar, 484–493. 24. Halperin Donghi, “El presente transforma el pasado,” 80. 25. Jean Graham-Jones observes that playwrights during the early eighties still relied on metaphor to avert censorship, but at the same time “took the first steps toward a critical self-distancing,” Exorcising History: Argentine Theatre under Dictatorship, 88. 26. Deforel and Lanteri, “El teatro,” 114. The proscriptos–intellectual dissi- dents who opposed the federal regime—responded to the glorious version of national unity being represented on Rosas’s official stages with narratives filled with impossible romances, misadventures and suicides, 115. Bartólome Mitre and Juan Bautista Alberdi explicitly addressed the national panorama under Rosas in their plays Cuatro épocas (1840) and El Gigante Amapolas y sus formidables enemigos (1841), respectively, but their plays were written in exile and were never produced in Argentina under the Rosas regime. 27. Diario de la Tarde, N. 5948, July 16, 1851. Qtd. in Deforel and Lanteri, 115. 28. Schechner, The Future of Ritual, 41. 29. Diario de la Tarde, N. 3204, April 18, 1842. Qtd. in Deforel and Lanteri, 115. 30. Castagnino, “El teatro de la época rosista,” 402–404. 31. British Packet, N. 721, May 5, 1841. Qtd. in Castagnino, “El teatro de la época rosista,” 403. 32. Castagnino, “El teatro de la época rosista,” 404. 33. Jorge Lanata, “Indulto,” Página 12, October 8, 1989. 34. Rock, Authoritarian Argentina, 119. 35. See Ibid., 100; Sábato, “Olvidar la memoria,” 8. 36. Anchorena, La repatriación de Rosas, 32. 37. “Menem llega,” Página 12, September 30, 1989. 38. “Rosas: Menem recibe los restos,” La Nación, September 30, 1989. 39. Daniel Capalbo, Página 12, October 1, 1989. 40. “Fueron repatriados,” La Nación, October 1, 1989. 41. Menem’s use of medical metaphors is surprising given that they were often used by the military during the dictatorship. “Quirófano” (Operating Room), for example, was used to refer to the torture chambers and military referred to leftist subversion as the cancer of the nation. 42. El cronista, October 2, 1989. Qtd. in Anchorena, 105. 43. Roach, Cities of the Dead, 3. 44. Freud, Totem and Taboo, 176. 45. Girard, Violence and the Sacred, 5. 46. See Joseph Roach’s chapter “Echoes in the Bone,” in his book Cities of the Dead, for an elaboration on Kantorowicz’s ideas, 33–71. 47. Kantorowicz, The King’s Two Bodies, 418. 48. Verdery, The Political Lives of Dead Bodies, 29. N OTES 223

49. Cortés Rocca and Kohan, Imágenes de vida, relatos de muerte, 79. 50. Guber, “Las manos de la memoria,” 427. 51. La prensa, April 7, 1989. Qtd. in Guber, “Las manos de la memoria,” 430. 52. Guber, “Las manos de la memoria,” 436. 53. Eloy Martínez, “Necrofilias argentinas,” 133. 54. Esther Fein, “Bury Lenin? Russian Die-Hards Aghast,” The New York Times, April 28, 1989. 55. As Foucault states, the “political investment of the body is bound up, in accordance with complex reciprocal relations, with its economic use,” Discipline and Punish, 25. 56. Vezzetti, “Variaciones en la memoria social,” 2–3. 57. See Trastoy and Zayas de Lima, Lenguajes escénicos, 44. 58. Rokem, Performing History, 11. 59. More specifically, the play was premiered in the Martín Coronado Theatre of the San Martín complex, a venue critics argued was too large. 60. Monti, Una pasión sudamericana, 33. 61. Sagaseta, La dramaturgia de Ricardo Monti: La seducción de la escritura, 236. 62. César Magrini, “Dos estrenos municipales,” El Economista, December 1, 1989. 63. González, “Ricardo Monti, su pasión y el combate por la historia,” 20. 64. Pellettieri, “Introduction. El teatro de Ricardo Monti (1989–1994),” 32. 65. Trastoy, “Metadrama y autorreferencia,” 22. 66. See Goffman, Frame Analysis, 83. 67. White, The Content of the Form, 20. 68. White writes, “Emplotment is the way by which a sequence of events fash- ioned into a story is gradually revealed to be a story of a particular kind,” Metahistory, 7. 69. Sorensen, Facundo and the Construction of Argentine Culture, 5. 70. Monti, Una pasión sudamericana, 33. 71. See Pellettieri, “Una tragedia sudamericana,” La escena latinoamericana, 32. 72. Monti, Una pasión sudamericana, 38. 73. Martínez Estrada, Radiografía de la Pampa, 12. 74. Ngug˜ ˜ı, Penpoints, Gunpoints, and Dreams, 38. 75. Graham-Jones, Reason Obscured, 22. 76. Bennett, Theatre Audiences, vii. 77. Notes accessed from the Center of Documentation at the San Martín Theatre, July 22, 2009. 78. Pellettieri, “El teatro de Ricardo Monti (1989–1994),” 18. Rodríguez, “El intertexto de Roa Bastos en Una pasión sudameriana de Ricardo Monti,” 13. 79. Avery, “A Return to Life: The Right to Identity and the Right to Identify Argentina’s Living Disappeared,” 257. 80. Carla Pezzi, “Entrevista a Ricardo Monti,” 106. 81. Trastoy, “El teatro argentino de los últimos años: del parricidio al filicidio,” 2; Tirri, “Los Parricidas: Monti y Gentile,” 1973. 82. Marechal, “Antígona Vélez” y “Las tres caras de Venus,” 58. 224 N OTES

83. Deforel and Lanteri, “El teatro,” 114. 84. Carlos Pezzi, “Entrevista a Ricardo Monti,” 106. As Graham-Jones points out, this reference to the end of the world also evokes Argentina’s geographic remoteness. 85. The original founders of El periférico de objetos are Daniel Veronese, Ana Alvarado, and Emilio García Wehbi. 86. Dubatti, “La dramaturgia del primer Daniel Veronese 1990–1993,” 25. 87. Dubatti, “Prólogo,” 30. 88. See description of theatre-going experience in Beatriz Trastoy and Perla Zayas de Lima, Lenguajes escénicos, 151. 89. Artaud, The Theatre and its Double, 39. 90. Hilda Cabrera, “El hombre de arena. Los muñecos diabólicos,” Página 12, May 5, 1992. 91. Nina Cortese, “El hombre de arena,” Ámbito ﬁnanciero, May 13, 1992. 92. Alejandro Tantanian, “Un leviatán teatral,” http://www.analvarado.com/ nota.html, April 2002. 93. Dubatti, “La dramaturgia del primer Daniel Veronese 1990–1993,” 29. 94. Dubatti, “Prólogo,” 30. 95. Freud, “Remembering, Repeating and Working-Through,” 150. 96. See Chapter 1. 97. For further analyses on theatre of the nineties and its relationship to the politics of Menemism, see Proaño Gómez’s Poéticas de la Globalización en el Teatro Latinoamericano, 2007.

Chapter 5

∗ A section of chapter 5 was ﬁrst published as the article “Global Imagin- ings of Argentina’s Middle Class in Roberto Cossa’s El Saludador (1999) and Cristina Escofet’s Eternity Class (2000),” in GESTOS, Revista de teoría y práctica de teatro hispánico. 1. Roberto Cossa’s El Saludador (The Greeter, 1999), Federico León’s Mil quinientos metros sobre el nivel de Jack (Fifteen Hundred Meters above the Level of Jack, 1999), Cristina Escofet’s Eternity Class (2000), and the theatre group Los Macocos’ Los Albornoz (Delicias de una familia argentina) (The Albornoz’s [Delights of an Argentine Family], 2001). 2. Fuld writes that the Ley de Avellaneda (1876)—a law promoting European immigration to Argentina—would pave the way for the arrival of over 4 million immigrants to Argentina. In “Los inmigrantes limítrofes. ¿Culpables de la desocupación en la Argentina?” Realidad económica, 7–28. 3. Seibel, Historia del teatro argentino, 374, 625. 4. Wortman, Pensar en las clases medias, 32. 5. Seibel, Historia del teatro argentino, 339. 6. Pellarolo, Sainete Criollo. Democracia/Representación. El caso de Nemesio Trejo, 41, 53. N OTES 225

7. Viñas, Grotesco, inmigración y fracaso, 13. 8. David Viñas calls the grotesco criollo the “sofocada elegía del ‘progreso’ liberal” [the stifled elegy of liberal “progress”] (59). 9. Svampa, Los que ganaron, 19–21. 10. Avelar, The Untimely Present, 11. 11. Svampa, Los que ganaron, 39, 15. 12. Olga Cosentino, “Viajando se hace la revolución,” La Nación, June 26, 1999. 13. Pellettieri, “Roberto Cossa y el teatro dominante,” 28. 14. Cossa, El Saludador, 116. 15. Magnarelli, Home Is Where the (He)art Is, 106. 16. Gail Bulman identifies Cossa’s adeptness at creating uneasy laughter in audiences in her fine examination of humor and catharsis in El Saludador in “Humor and Catharsis in Roberto Cossa’s El Saludador,” 5. 17. Trastoy and Zayas de Lima, Lenguajes escénicos, 80. 18. Avelar, The Untimely Present, 7. 19. For an excellent analysis of the formal elements of the staging and a discussion on the reassessment of family roles in the play, see Sharon Magnarelli’s Home is Where the (He)art Is, 95–118. 20. Appadurai, Globalization, 6. 21. Cossa, El Saludador, 117. 22. See Bulman, “Humor and Catharsis in Roberto Cossa’s El Saludador,” 11. 23. Csordas, “Introduction,” Embodiment and Experience, 12. 24. Keane, “Structural Transformations of the Public Sphere,” 8. Also see Nestor García Canclini’s discussion of Keane’s micro-, meso-, and macro-public spheres in La Globalización imaginada, 187–88. 25. According to Osvaldo Pellettieri, the realism of the sixties in Argentina reflects the combined influence of contemporary playwrights such as Arthur Miller and the turn-of-the-century realism that was consolidated in Florencio Sánchez’s naturalist tragedies. Pellettieri identifies Cossa’s Nuestro fin de semana (1964) and Ricardo Halac’s Soledad para cuatro (Solitude for Four, 1961) as the sixties plays that best capture the essence of this “reflexive realism.” In Cien años de teatro argentino, 145–46. The sainete and grotesco criollo are early-twentieth-century genres that, to a great extent, capture the experience of immigration and its impact on national identity in Argentina. The origins of these genres can be found in Spain’s sainete and Italy’s grottesco, respectively, although the genres metamorphose and become distinctly Argentine. For in-depth descriptions of the sainete and the grotesco criollo genres in Argentina, see Pellettieri’s Cien años de teatro argentino, Viñas’s Grotesco, inmigración y fracaso: Armando Discépolo, and Kaiser-Lenoir’s El grotesco criollo: estilo teatral de una época. 26. Pellettieri includes much of Cossa’s work, including El Saludador, in the cat- egory of reflexive realism with the sainete as intertext.“Roberto Cossa y el teatro dominante,” 27–35. 27. Pellettieri, “Roberto Cossa y el teatro dominante,” 32. 28. Graham-Jones, Exorcising History, 144. 226 N OTES

29. María de los Ángeles Sanz, “Tras la senda da una identidad,” 51. 30. Cossa, El Saludador, 116. 31. Luis Ordaz refers to the genealogy of antiheroes in Argentine theatre and includes Roberto Arlt’s Saverio el cruel (1936) in this list. Breve Historia del Teatro Argentino, 151–52. 32. Germani, Política y sociedad, 182. 33. Kaiser-Lenoir, El grotesco criollo: estilo teatral de una época, 53. 34. Discépolo, Mateo, 333. 35. Kaiser-Lenoir, El Grotesco criollo: estilo de una época, 73. 36. Discépolo, Stéfano, 142. 37. Arthur Miller’s Death of a Salesman (1949) was particularly important for Cossa because of the play’s emphasis on the relationship between one’s pro- fession and sense of self-worth, a relationship that has been explored amply in Argentine theatre, already in Sánchez’s M’hijo el dotor (My Son the Doc- tor, 1903) and later in Osvaldo Dragún’s Historias para ser contadas (Stories to Be Told, 1957) and Ricardo Talesnik’s La fiaca (Laziness, 1967). 38. Cossa, Nuestro fin de semana, 74. 39. Escofet’s Eternity Class is the one play discussed in this book that has yet to be staged. 40. Ibid., 95. 41. Escofet, “La diferencia, siempre la diferencia,” Teatro, 17. Lola Proaño Gómez and Phyllis Zatlin stress the importance of humor in Escofet’s dra- maturgy. See Zatlin, “Feminist Metatheatricalsim: Escofet’s Ritos del corazón,” and Proaño Gómez, “De la inmanencia a la trascendencia: Una conversación con Cristina Escofet.” 42. Escofet, Eternity Class, 66. 43. Turner, “Bodies and anti-bodies: flesh and fetish in contemporary social theory,” 27. 44. Svampa, Los que ganaron, 33. 45. García Canclini, Cultura y Comunicación, 50. 46. “La gente asocia la calidad con los símbolos de los 90,” La Nación, April 25, 1999. 47. Inspired by Paul Klee’s painting Angelus Novus, Benjamin writes in his Theses on the Philosophy of History IX: “His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe, which keeps piling wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing in from Paradise; it has got caught in his wings with such a violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress” (Illuminations 257). 48. During the late nineties and after 2001 the cartoneros typically worked at night and used enormous carts to haul their goods as they collected recyclable items from garbage left on the streets of Argentina’s largest cities, especially Buenos Aires. N OTES 227

49. Escofet, Eternity Class, 78. 50. Borón, “Los axiomas de Anillaco,” 77. 51. Svampa, Los que ganaron, 69. 52. See Grimson, “Ethnic (In)visibility in Neoliberal Argentina.” 53. As in other major cities in Latin America, Europe, and the United States during the sixties, universities became catalysts for cultural revolution. In Argentina, this decade marked the birth of EUDEBA, the University of Buenos Aires publishing house, and the foundation of the avant-garde institute Torcuato di Tella. This cultural growth was repressed in 1966, when General Onganía became president in a military coup and began instituting violent measures to control “communist tendencies” that the military regime increasingly associated with left-wing intelligentsia. On July 29, 1966, the police stormed numerous departments at the University of Buenos Aires and beat professors and students, an event that is now referred to as the “noche de bastones largos” (The Night of the Long Truncheons). In Romero, Breve historia contemporánea de la Argentina, 218–269. The playwright, too, was ousted from the Philosophy Department at the University of La Plata in the seventies because of her opposition to the Anti-communist Association of Argentina (Asociación Anticomunista Argentina). In Zatlin, “Feminist Metatheatricalism,” 19. 54. Romero, Breve historia contemporánea de la Argentina, 387. 55. Olga Cosentino, “Viajando se hace la revolución,” La Nación, June 26, 1999. 56. Svampa, Los que ganaron, 28–30. 57. Presentation by Carlos Gorostiza at the XVII Congreso Internacional de Teatro Iberoamericano y Argentino, Buenos Aires, August 6, 2009. 58. Gorostiza, El puente, 35. 59. Qtd. in Alejandro Cruz, “Una experiencia que alteró la rutina callejera,” La Nación, November 17, 2002. 60. Agamben, Homo Sacer, 9. 61. Nora Sánchez, “Muñecos esparcidos por toda Buenos Aires causaron sor- presa,” Clarín, November 16, 2002. 62. Ibid. 63. Ibid. 64. Alejandro Cruz, “Una experiencia que alteró la rutina callejera,” La Nación, November 17, 2002. 65. “Repercusión en la gente y en la policía,” La Nación, November 17, 2002. 66. Nora Sánchez, “Muñecos esparcidos por toda Buenos Aires causaron sor- presa,” November 16, 2002. 67. See comments by Daniel Veronese in Dubatti, “Prólogo,” La deriva, 27, 30. 68. See Diéguez Caballero’s Escenarios liminales and Persino’s “Reﬂexiones sobre una intervención urbana: El Proyecto Filoctetes.” 69. For a discussion on surveillance, voyeurism, and performance, see Coco Fusco’s interview with Ricardo Domínguez in “On-Line Simulations/Real- Life Politics: A Discussion with Ricardo Domínguez on Staging Virtual Theatre,” 151–162. 228 N OTES

70. Horacio Cecchi, “El día de los falsos muertos,” Página 12, November 16, 2002. 71. It must be noted that the premiere took place in June, six months before the major upheavals of December 2001. 72. Los Macocos, Los Albornoz, 219. 73. Dubatti, “Estudio Preliminar,” 38. 74. Wortman, Construcción imaginaria, 89. 75. Los Macocos, Los Albornoz, 240. 76. Wortman, Construcción imaginaria, 91. 77. Sarlo, Esencas de la vida posmoderna, 78. 78. Ibid., 85. 79. Los Macocos, Los Albornoz, 243–244. 80. Proaño Gómez, Políticas de la globalización en el teatro latinoamericano, 140, 143. For further reading on the impact of globalization on Argentine theatre, see Paola Hernández’s El teatro de Argentina y Chile. Globalización, resistencia y desencanto. 81. León, Registros. Teatro reunido y otros textos, 172–173. 82. Dubatti, “Estudio preliminar. Teatro Deshecho I,” 142. 83. Los Macocos, Los Albornoz, 219. 84. Pellarolo, Sainete Criollo: Democracia, representación; El caso de Nemesio Trejo, 57. 85. Bennett, Theatre Audiences: A Theory of Production and Reception, 84. 86. Likewise in Cossa’s play, when the Saludador returns home for the last time without his legs, arms, and one eye, audiences learn that he has been made president of the world association of organ donors and, as such, felt he had to serve as an example.1 87. Scheper-Hughes, Nancy, “The Ends of the Body: Commodity Fetishism and the Global Trafﬁc in Organs,” 62. 88. Los Macocos, Los Albornoz, 250. 89. Particularly common after 2001, the cacerolazos were demonstrations in which Argentines banged pots and pans together (cacerolas) in the streets and from their balconies to denounce the economic measures implemented during the crisis. 90. Wortman, “Enigmas y desafíos tras el conﬂicto,” Página 12, July 31, 2008.

Chapter 6

1. Organizers of Teatro Abierto included the playwrights Osvaldo Dragún and Roberto Cossa; actors Jorge Rivera López, Luis Brandoni, and Pepe Soriano; Nobel Prize winner Adolfo Pérez Esquivel; and the writer Ernesto Sábato. 2. For detailed studies of Teatro Abierto, see Giella, Teatro Abierto 1981, Vol. I, 13–62; Graham-Jones, “Vigilant, Vigilante Theatre: Teatro Abierto (1981– 1985),” Exorcising History, 89–122; Taylor, “Staging Battles of Gender and Nation-ness: Teatro Abierto 1981,” Disappearing Acts: Spectacles of Gen- der and Nationalism in Argentina’s “Dirty War,” 223–254; Trastoy, “Teatro N OTES 229

Abierto 1981: un fenómeno social y cultural,” Historia del Teatro Argentino en Buenos Aires, Vol. V, 104–111. 3. Graham-Jones, Exorcising History, 90–91. 4. Giella, Teatro Abierto 1981, Vol. I, 39–40. 5. Graham-Jones, Exorcising History, 91. 6. Rodríguez and Lusnich, “La Recepción del Teatro del Arte,” 220. 7. By February 2010 the Abuelas had helped recover the identities of 101 stolen grandchildren. “ ‘Tener identidad es lo más lindo que hay’ dijo el nieto 101,” La Nación, February 23, 2010. http://www.lanacion.com.ar/ nota.asp?nota_id=1236384. 8. De los Ángeles Sanz, “Un significado en busca de un significante,” 51. 9. Ogás Puga, “Teatroxlaidentidad: Un teatro en busca de su identidad,” 14. 10. The quote is taken from the manifesto posted on the site for Teatro del Pueblo: http://www.teatrodelpueblo.org.ar/teatro_abierto/. 11. Teatroxlaidentidad. Obras de teatro del Ciclo 2001, 23. 12. Jelin, Los trabajos de la memoria, 126. 13. Kaës, Transmisión de la vida psíquica entre generaciones, 21. 14. Hirsch, Family Frames, 22. 15. Laub, “Bearing Witness or the Vicissitudes of Listening,” Testimony, 84. 16. Taylor, The Archive and the Repertoire, 168. 17. H.I.J.O.S.: Hijos e Hijas por la Identidad y la Justicia contra el Olvido y el Silencio (Children for Identity and Justice, Against Forgetting and Silence). 18. Arditti, Searching for Life, 21. 19. The legal scholar Laura Oren notes that over time and as a result of the many diverse and complex custody arrangements that arose, the Abuelas began to focus more on the restitution of identity than the return of children to biological relatives, “Righting Child Custody Wrongs: The Children of the ‘Disappeared’ in Argentina,” 194. 20. Arditti, Searching for Life, 103. 21. De Bianchedi et al., “Acerca de los orígenes: Verdad-mentira, transmisión generacional,” Restitución de niños. Abuelas de Plaza de Mayo. 22. La historia de Abuelas. 30 años de búsqueda, 131. 23. Arditti, De por vida. La historia de una búsqueda.Qtd.inLa historia de Abuelas. 30 años de búsqueda, 131. 24. La historia de Abuelas. 30 años de búsqueda, 48. 25. Arditti, Searching for Life, 72. 26. Ibid., 146. 27. Oren, “Righting Child Custody Wrongs: The Children of the ‘Disappeared’ in Argentina,” 186. 28. http://conadi.jus.gov.ar/home_fl.html. 29. La historia de Abuelas. 30 años de búsqueda, 119. 30. Ibid. 31. Amado, Ana, “Órdenes de la memoria y desórdenes de la ficción,” Lazos de la Familia, 49. 32. Kordon and Edelman, Por-venires de la memoria, 65. 230 N OTES

33. Pablo Zunino, “El teatro tiene memoria,” La Nación, November 21, 1997. 34. Pablo Zunino, “La gran catarsis colectiva,” La Nación, November 28, 1997. 35. Ibid. 36. La historia de Abuelas. 30 años de búsqueda, 151. 37. After the ﬁrst cycle of Teatro por la Identidad, more than 70 young people approached the Abuelas with uncertainties regarding their identity. http://www.teatroxlaidentidad.net/editables/. 38. Teatroxlaidentidad. Obras de teatro del Ciclo 2001, 9. 39. Bystrom, “The Public Private Sphere: Family Narrative and Democracy in Argentina and South Africa,” 14. 40. Zangaro, A propósito de la duda, 156. 41. Herrera and Tenembaum, Identidad, despojo y restitución, 13. 42. Arditti, Searching for Life, 134–137. 43. For psychological evidence in favor of restitution, see E. T. De Bianchedi et al, “Acerca de los orígenes: Verdad-mentira, transmisión generacional,” Restitución de niños. Abuelas de Plaza de Mayo, 299–310. 44. La historia de Abuelas. 30 años de búsqueda, 106. 45. Zangaro, A propósito de la duda, 156. 46. Filc, Entre el parentesco y la política. Familia y dictadura, 1976–1983, 98. 47. Taylor, The Archive and the Repertoire, 171. 48. See chapter 3. 49. Zangaro, A propósito de la duda, 159. 50. The murga is a popular form of music and dance performed predominantly during the carnival season in Uruguay that features a chorus, a power- ful drum beat, brightly costumed murgueros with painted faces, and lyrics with political and social content. The murga has been incorporated as a key element in the performance of the escraches in Argentina since the mid-nineties. 51. Zangaro, A propósito de la duda, 161. 52. See Patricia Sicouly’s comprehensive study: Teatroxlaidentidad: Un teatro para la memoria. 53. Hilda Cabrera, “Teatro por la Identidad, a ocho años de su primera temporada,” Página 12, November 15, 2008. 54. Forming part of the Buenos Aires Theatre Complex (Complejo Teatral de Buenos Aires), the Sarmiento Theatre has the reputation for staging more experimental plays. 55. Tellas quoted in Moreno, “Padres nuestros,” 1. 56. Cornago, “Biodrama: Sobre el teatro de la vida y la vida del teatro,” 5. 57. Alejandro Cruz, “Vivi Tellas abre su personal archivo,” La Nación, July 30, 2008. 58. Ibid., March 22, 2009. In describing La vida después, Arias repeatedly refers to the idea of a “remake” of the lives of the parents. Juan José Santillán, “Un abanico de historias generacionales,” Clarín, March 16, 2009. 59. Arias, Mi vida después, 1. 60. María Moreno, “Padres nuestros,” Página 12, April 26, 2009. N OTES 231

61. Brownell, “El teatro antes del futuro: sobre Mi vida después de Lola Arias,” 11. 62. Freire, “Teatro documental: el referente como inductor de lectura,” 5. 63. Playbill text quoted in Pamela Brownell, “El teatro antes del futuro: sobre Mi vida después de Lola Arias,” 1. 64. Ibid., 1. 65. Arias, Mi vida después, 19. 66. http://www.rimini-protokoll.de/website/en/project_3479.html. Accessed February 6, 2010. 67. Interview with María Fernanda Pinta, “Escenas de un discurso I. Entrevista a Lola Arias,” 6.

Conclusion

1. Butler, Precarious Life, 30. 2. Proyecto Museos,1. 3. Leon, Registros. Teatro reunido y otros textos, 64. 4. Szperling, Confesionario. Historia de mi vida privada, 5. 5. Tellas, “Vidas prestadas,” 1. 6. Martin, “Bodies of Evidence,” 9. 7. This use of the superimposition of photographic images is reminiscent of Lucila Quieto’s photographic exhibition “Arqueología de la ausencia” (Archaeology of Absence) (Espacio ecléctico, Buenos Aires, 2002), in which images of children of the disappeared are juxtaposed and superimposed upon old photographic images of their parents. 8. Hilda Cabrera, “Veo la obra como un organismo vivo,” Página 12, September 12, 2009. 9. http://grupolafase.blogspot.com/2009/08/escenas-de-la-vida-digital- reportaje.html. August 5, 2009. Accessed February 9, 2010. 10. Alvarado, quoted by La Fase. http://grupolafase.blogspot.com/2009/08/ escenas-de-la-vida-digital-reportaje.html. August 5, 2009. Accessed February 9, 2010. 11. Alvarado, “El Objeto de las Vanguardias del siglo XX en el Teatro Argentino de la Post-dictadura. Caso Testigo: El Periférico de Objetos,” 18. 12. See Filc, Entre el parentesco y la política. Familia y dictadura, 1976–1983. 13. Again, this is in line with Filc’s argument in Entre el parentesco y la política. Familia y dictadura, 1976–1983, 96. 14. Jean Graham-Jones translated this work and three others for the festival BAiT (Buenos Aires in Translation, New York City, May 2006), compiled in the anthology BAiT: Buenos Aires in translation: 4 plays from Argentina. 15. Bidegain, Marianetti, and Quain, Vecinos al rescate de la memoria olvidada, 1–19. 16. Many of the founding members of Catalinas Sur originally belonged to the parents’ association corresponding to School Number 6, Carlos Della Penna, 232 N OTES

in the neighborhood La Boca. Bidegain, Marianetti, and Quain, Vecinos al rescate de la memoria olvidada, 40. 17. http://www.catalinasur.com.ar/. 18. Balan, Encuentro Cultura y democracia participativa. Diez claves para la Acción Cultural, Buenos Aires, November 2–4, 2007. Qtd. in Bidegain, Marianetti, and Quain, Vecinos al rescate de la memoria olvidada, 24. 19. Giunta, Poscrisis. Arte argentino después de 2001, 27. 20. http://www.santiago-sierra.com/200210_1024.php. 21. Bidegain, Marianetti, and Quain, Vecinos al rescate de la memoria olvidada, 20. Bibliography

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Absurd, 55, 60, 70, 78, 126, 167 Arditti, Rita, 63, 178–9, 216 Abuelas de Plaza de Mayo Arendt, Hannah, 7, 29 (The Grandmothers of Plaza de Arias, Lola, 20, 174, 191–5, 198–205 Mayo), 5, 18, 30, 67–8, 77, Airport Kids, 195 87, 125, 173, 175, 177–86, El amor es un francotirador (Love is 191–2 a Sniper), 195 Act of transfer, 39 Escúalida familia (A kingdom, a Aerolineas Argentinas, 116 country or a wasteland, in the Agamben, Giorgio, 159 snow), 205 Agger, Inger, 47 Mi vida después (My Life After), Alberdi, Juan Bautista, 118 195, 198, 200–3 Aleandro, Norma, 90 Striptease, 195 Alfonsín, Raúl, 17, 26, 31, 42, 49, 52, Sueño con Revolver (Revolver 65, 87, 99, 115 Dream), 195 Alvarado, Ana, 202–3 Aristotle’s Poetics,44 Visible, 202 Arlt, Mirta, 36, 51 Amado, Ana, 4–5, 24, 64, 180, 201 Arslanián, León Carlos, 32 American Association for the Artaud, Antonin, 129 Advancement of Science, 179 Articles 7 and 8 (UN Convention American Convention on Human on the Rights of the Rights, 30 Child), 179 Amnesty, 13, 24, 69–70, 94–5, 99, Astiz, Alfredo, 93 105, 113, 125, 130 Avelar, Idelber, 138–9 Amnesty International, 95 Avery, Lisa, 125–6 Anchorena, Manuel de, 111 Anouilh, Jean, 44 Balan, Eduardo, 206 Antonelli, Mirta, 68 Balza, Martín, 14, 46, 93 Aparición con vida (Appearance/ Banco Nacional de Datos Genéticos Returned Alive), 36, 42 (National Genetic Data Bank), Appadurai, Arjun, 139 179, 188 Aramburu, Pedro Eugenio, 115 barbarism, 41, 106, 118, 121–3, 205 Archivo biográﬁco familiar de Abuelas Bartís, Ricardo, 72, 204 de Plaza de Mayo (Family De mal en peor (From Bad to Biography Archive of Abuelas de Worse), 204 Plaza de Mayo), 178 Bassi, Valentina, 176, 182 250 I NDEX

Battle of Caseros, 103 caudillismo, 100, 103, 106, 112, 127 Beck, Ulrich, 6 cautiva, 190 Beckett, Samuel, 202 Cavallo, Domingo, 136 Bennett, Susan, 13, 101, 123, 168 Centro clandestino de detención Bertuccio, Marcelo, Señora, esposa, (Clandestine Detention niña y joven desde lejos (Señora, Center), 26 Wife, Girl, and Young Man from Centro Cultural Ricardo Rojas, Afar), 58, 193 182, 199 Beslan, 58–9 Centro de Estudios Legales y Sociales Bianchedi, E.T. de, 178 (The Center for Legal and Social Bianchi, Adhemar, 205 Studies, CELS), 30 Bidegain, Marcela, 206 civilization, 106, 118–20, 204–5 Biodrama, 192, 199 coercive system of tragedy, 90 Bixler, Jacqueline, 72–3, 77 Cohen, Stanley, 17, 35, 48 Blau, Herbert, 38 Comisión del Grupo de Padres de Blumberg, Juan Carlos, 66–8 Soldados de Las Malvinas Boal, Augusto, 90, 161 (The Commission of the Group coercive system of tragedy, 90 of Parents of Soldiers of invisible theatre, 161 Malvinas), 78 bodily integrity, 7–10, 169 Comisión Nacional de Padres y Bonafini, Hebe de, 42, 67 Familiares de Combatientes Booth Walling, Carrie, 27 Desaparecidos en Malvinas Borón, Atilio, 153–4 (The National Commission of Bortnik, Aida, 90 Parents and Family Members of La historia oficial (The Official Combatants Disappeared in Story), 17, 90–1 Malvinas), 78 Boss, Pauline, 39, 163 Comisión Nacional por el Braun Dunayevich, Julia, 37 Derecho a la Identidad Brecht, Bertolt, 18, 44 (National Commission for Briski, Norman, 72, 80, 81 the Right to Identity, CONADI), Brownell, Pamela, 194 196 Bulman, Gail, 80 Comisión Nacional sobre la Butler, Judith, 44, 197 Desaparición de Personas Buus Jensen, Søren, 47 (National Commission on the Bystrom, Kerry, 183 Disappeared, CONADEP), Cabrera, Hilda, 129 26, 30 Cafiero, Antonio, 115 Confederación General del Trabajo Carlotto, Estela de, 77 (General Confederation of Labor, Carlson, Marla, 38, 45 CGT), 114 cartonero, 152 conventillo, 134–6, 157 Castagnino, Raúl, 109 Cornago, Óscar, 192 Castellví deMoor, Magda, 44, 76 Correa, Rubens, 207 cataphoric structure, 75 Corrientes Avenue, 99, 174 Catela, Ludmila da Silva, 39–40 Cortese, Nina, 129 Catharsis, 58, 90, 138, 156 Cosentino, Olga, 71, 156 I NDEX 251

Cossa, Roberto, 8, 20, 23, 113, Dostoyevsky, Fyodor, The Idiot, 204 136–47, 155, 162, 169, 171, Dubatti, Jorge, 75–6, 80, 85, 128–9, 181, 203 162, 168 ¿Vos sabés quién sos? (Do you know who you are?), 181–2 Eco, Umberto, 85 De pies y manos (Of Feet and Edelman, Lucila, 181 Hands), 141 Ejército Revolucionario del Pueblo El Saludador, 8, 23, 133, 136–41, (People’s Revolutionary Army, 145–56, 162, 169, 171, ERP), 15–16 197–8, 203 El Documento Final (The Final La Nona, 141, 164 Document), 29 Los compadritos, 141 El Periférico de objetos, 19, 100, Nuestro ﬁn de semana (Our 128–30, 161, 202–3 Weekend), 142, 146–7, 164 Cámara Gesell, 203 Cosse, Villanueve, 181 El hombre de arena (The Sandman), country, 135–6 100, 127–9, 161, 202 Crenzel, Emilio, 27, 29–30 Variaciones sobre B (Variations crimes against humanity, 7, 15, 22, on B), 202 69, 94–7, 200 Entel, 116 Csordas, Thomas, 140 Escofet, Cristina, 23, 133, 148–9, Cura, Mario, Madresperanza, 188 151, 153, 155–6, 198 Eternity Class, 23, 133, 148–56, Dago, Tito, 72 169, 198 D’Angiolillo, Luis César, 21, 70, 85 escrache, 18, 87, 177, 187 Daulte, Javier, 192, 199, 204 Escuela de Mecánica de la Armada ¿Estás ahí? (Are you There?), 204 (Navy School of the Mechanics, Nunca estuviste tan adorable (You ESMA), 91–3 Were Never so Adorable), 192 ESMA: El Día del Juicio (ESMA: The Derrida, Jacques, 95 Day of Judgement), 32 Desert Conquest, 190 Etchecolatz, Miguel, 191 Diéguez Caballero, Ileana, 161 Eurydice, 46, 60–2 “Dirty War”, 16, 66 Evans, Susy, 72–3 Discépolo, Armando, 1, 138, 142–4 Mateo, 142–6 Familiares de Detenidos y Stéfano, 1, 142, 144–6 Desaparecidos por Razones disjunctive ﬂows, 154 Políticas (Family Members of the Distéfano, Juan Carlos, 47 Detained and Disappeared for Divine Comedy, 118 Political Reasons), 5 Doctrina de los dos demonios Fanego, Daniel, 176, 182 (Doctrine of Two Demons), federal, 103, 107–9, 112, 121, 125 15–16, 106 Feinman, José Pablo, 65 Domínguez, Nora, 4–5 Feitlowitz, Margueritte, 92–4 Donghi, Tulio Halperín, 105–6 Feld, Claudia, 31–3, 40–1 Dorfman, Ariel, La muerte y la Feldman, Allen, 10, 91 doncella (Death and the Felman, Shoshana, 18, 20, 30–7 Maiden), 218 Filc, Judith, 3–4, 15, 54, 64, 187, 203 252 I NDEX

Freire, Silka, 194 Gilio, María Esther, 175 Freud, 9–11, 113, 116, 129–30 Girard, René, 113 Fugard, Athol, 44 Giunta, Andrea, 206 Goffman, Erving, 13 Galán, Graciela, 35, 59 Goldenberg, Jorge, 58, 201 Galtieri, Leopoldo Fortunato, 100 Fotos de infancia (Childhood Gambaro, Griselda, 7–8, 17, 20–5, Photos), 201 34–48, 50–65, 70–1, 100, 103, Knepp,58 105, 106, 118, 130, 197–8, González Bombal, Inés, 29, 31, 40 203–4, 207 González, Horacio, 119 Antígona furiosa (Furious Gorostiza, Carlos, 156–9 Antigone), 7, 20, 26, 34–6, El Puente (The Bridge), 156–8 40–7, 50–60, 130, 197 Graham-Jones, Jean, 4, 17, 74, 123, Atando cabos (Tying Loose Ends), 141, 174 20, 50, 54–60, 198 grotesco criollo, 23, 35, 53, 138, Decir Sí (To Say Yes), 17 141–3, 164, 169 Del sol naciente (The Rising Grupo Catalinas Sur, El fulgor Sun), 65 argentino (Argentine Ganarse la muerte (To Earn One’s Splendor), 205 Death), 71 Venimos de muy lejos (We Come La casa sin sosiego (The House from Far Away), 205 Without Calm), 21, 50, Guber, Rosana, 102, 115 60–2, 198 La malasangre (Bad Blood), 22, 36, habeas corpus,27 54, 100, 102–6, 110, 118, hacer l’América, 135 126–7 Halbwachs, Maurice, 1 La persistencia (Persistence), 50, Halvorsen, Erika 58–60, 207 Identikit:El juego, 189 La señora Macbeth,54 VicyVic, 189 Real envido (Royal Gambit), 36 Hayner, Priscilla, 27 García Canclini, Néstor, 151 Hegel, Georg Wilhelm Friedrich, 44 García Fernández, Miguel, Virtud y Herman, Judith, 9 valor premiados (Virtue and Hernández, Paola, 6 Courage Rewarded), 107 Herrera, Matilde, 181 García Wehbi, Emilio, 9, 19–20, 128, Hijos e Hijas por la Identidad y la 156, 159–61, 202–3 Justicia contra el Olvido y el Proyecto Filoctetes, 9, 156, Silencio (Children for Identity 159–61, 197 and Justice, Against Forgetting Garzón, Baltasar, 7, 15, 94, 96, 200 and Silence, H.I.J.O.S.), 18, 64, Geiger, Conrado, 180 67, 177 Gelman, Juan, “Carta a mi nieto o Hirsch, Marianne, 2, 24 nieta” (Letter to my grandson or historical revisionism, 110 granddaughter), 63 Hoffmann, E.T.A., 128–9, 202 Generation of ’37, 122 Hough, Guillermo, Plan Geneva Conventions, 95 reservado, 190 ghosting, 11, 102 Huyssen, Andreas, 11 I NDEX 253

Ibsen, Henrik, A Doll’s House, 204 Laragione, Lucía, Criaturas de aire Iglesias, Herminio, 99–100 (Creatures of Air), 205 Índice de la Abuelidad (Index of Laub, Dori, 47, 177 Grandparentage), 179 Lavalle, Juan, 118 indulto, 58, 77, 92–4, 110, 113, 117, Lenin, 116 123, 125–6, 154 León, Federico, 20, 32, 133, 167–8, Instituto Goethe, 35 199–201, 204–5 Instituto Torcuato di Tella, 70 Cachetazo de campo (Country Instituto Yenesí, 70 Slap), 205 Inter-American Commission on Mil quinientos metros sobre el nivel Human Rights, 31 de Jack (Fifteen hundred International Monetary Fund, 8 Meters Above the Level of invisible theatre, 161 Jack), 133, 166–7 Irigaray, Luce, 44 Yo en el futuro (I, in the Future), 116 Jarry, Alfred, Ubu Roi, 202 Levin, Eugenia, 182 Jelin, Elizabeth, 2, 5, 10, 24, 30, Levy-Daniel, Héctor, El archivista, 42–3, 176 188 José Tiburcio Borda Psychiatric Lewin, Norberto Hospital, 199 El Piquete, 188–9 jurisdiction, 6–7, 15, 25, 31, 34, 69, Tú no eres mi padre (You are not my 94–5, 97, 114, 200 Father), 189 Ley de Obediencia Debida (Due Kaegi, Stefan, Airport Kids, 195 Obedience Law), 14, 46, 92–4 Käes, Rene, 193 Ley de Paciﬁcación Nacional (Law of Kaiser-Lenoir, Claudia, 135, 144 National Paciﬁcation), 29 Kantorowicz, Ernst, 113–14 Ley de Punto Final (Full Stop Law), Kartún, Mauricio, La madonnita, 204 14, 46, 94 Kaufman, Ester, 27–8 Lima, Perla Zayas de, 39, 138 Keane, John, 140–1 Lizarazu, Gladys, 20, 170–1, 198, Kershaw, Baz, 13 201–2 King-Claire, Mary, 179 López, Julio Jorge, 191 Kirchner, Cristina, 205 Kirchner, Néstor, 67 Lorenz, Federico, 64–5 Kohan, Martin, 115, 199 Los Macocos, 9, 19–20, 23, 161–9, Kordon, Diana, 181 171, 204, 228 El Supercrisol, 204 Laberinto, 180 Los Albornoz, 9, 19, 23, 133, La Boca, 134, 205 161–71, 197, 204 Lacan, Jacques, 44 Luder, Ítalo, 99–100 Lacasa, Pedro, 108–9 Lusnich, Ana Laura, 36, 71, 174 El entierro del loco, traidor, salvaje Lyons, Charles, 72 unitario Urquiza (The Burial of the Crazy Traitor, Savage macro-public sphere, 140–1 Unitarian Urquiza), 109 Madres del Dolor (Mothers of Landsman, Stephan, 95 Pain), 67 254 I NDEX

Madres de Plaza de Mayo Montonero, 15, 63, 101, 115 (The Mothers of Plaza de Mayo), Movimiento Nacional de la 5, 7, 30, 35–6, 42–3, 59, 62–8, Restauración (National 87, 93, 130, 187–8 Movement for Restoration), Magrini, César, 119 100–1 Malamud-Goti, Jaime, 17 Müller, Heiner, Hamletmachine, 202 Malvinas/Falklands, 21, 51, 64–5, 86, multiplicidad dramática (dramatic 99–100, 103, 111, 113, 199 multiplicity), 71 Manso, Leonor, 181 Muraña, Bettina, 35 Marechal, Leopoldo, Antígona Vélez, murga, 18, 187 51, 126 Murúa, Lautaro, 101–3, 126 Martin, Carol, 200 Martínez de Hoz, José Alfredo, 8, 135 National Conservatory of Dramatic Martínez Estrada, Ezequiel, Arts, 174 Radiografía de la Pampa, 122 neogrotesco, 141 Martínez-Olcóz, Nieves, 38 neosainete, 141 Martínez, Tomás Eloy, 115 Ngugi wa Thiong’o, 122 Massera, Emilio Eduardo, 32, 46 Nicholson, Helen, 6 Nietzsche, Friedrich, 44 mazorca, 103 Nino, Carlos, 27, 31, 109 Mazziotti, Nora, 53 Novaro, Marcos, 16, 105–6 Méndez, Juan, 11 nuevos pobres (new poor), 136 Menem, Carlos Saúl, 8–13, 19, 22–3, Nunca Más (Never Again), 7, 16, 20, 77, 92–4, 110–139, 148, 25–7, 29, 33, 35–6, 43, 49, 87, 151–60, 167, 171, 190, 198, 91, 96 201–2 Merelli, Cristina, The Shoes, 188 Obersztern, Mariana, El aire alrededor micropolíticas de la resistencia (The Surrounding Air), 192 (micropolitics of resistance), 71 Ogás Puga, Grisby, 176 micro-public sphere, 140–1 Oren, Laura, 178 Mignone, Emilio, 93 Orpheus, 20–1, 49–50, 60–2 Milosevic, Slobodan, 7, 95 Mogliani, Laura, 37, 80 Padres y Amigos del Soldado (Parents Molina Pico, Enrique Emilio, 93 and Friends of the Soldier), 65 Monteverdi, Claudio, 60 Palermo, Vicente, 16, 105–6 Monti, Ricardo, 12–13, 20, 22, 100, pampa, 51, 122, 126 106, 117–27, 198, 203 patria, 3–4, 14, 16, 24 Finlandia, 100, 127 Pavlovsky, Eduardo, 14–15, 17, 20–1, Una noche con el Señor Magnus e 58, 69–98, 200, 207 hijos (A Night with El señor Galíndez, 69, 75–6, 97 Mr. Magnus and his El señor Laforgue, 69, 97 Children), 126 La espera trágia (The Tragic Una pasión sudamericana (A South Wait), 70 American Passion Play), 12, Pablo, 58, 71–2, 77–81, 84 22, 100, 106, 117–30, Poroto, 71–2, 80–5 197–8, 203 Potestad, 14–15, 21, 70–98, 200 I NDEX 255

Solo Brumas (Alone in the repatriation, 13, 22, 110–17, 123, Haze), 207 126–7, 130 Somos (We Are), 70 restored behavior, 5, 11 Telarañas (Spiderwebs), 71–2, 77 Right to Identity, 23, 173–88 Tercero incluído (Third Rilke, Rainer Maria, 60 Included), 17 Rimini Protokoll, Airport Kids, 195 Payne, Leigh, 93 Río de la Plata (River Plate), 14, 50, Pelento, María Lucila, 37 69, 91, 111 Pellarolo, Silvia, 37, 44–5, 134–5, 168 Rivera López, Jorge, 174, 176 Pellettieri, Osvaldo, 36, 119, 125, 141 Rivera López, Luis, 183 Penchaszadeh, Victor, 179 Roach, Joseph, 11, 113 Pérez, Mariana Eva, Instrucciones para Roca, Julio Argentino, 190 coleccionistas de mariposas, 189 Rocca, Paola Cortés, 115 Pernías, Antonio, 92, 97 Roffé, Reina, 53 Perón, Eva, 52, 114, 115, 131 Rolón, Juan Carlos, 91–2, 97 Perón, Juan Domingo, 52, 111, Romero, Luis Alberto, 154 114–15, 131, 157–8, 194 Rosas, Juan Manuel de, 4, 12–13, 22, Persino, María Silvina, 161 54, 100–31 Pinochet, Augusto, 7, 94–6, 197 Rose, Gillian, 40 Plaza de Mayo, 5, 18, 26, 35, 66, 77, 82–3, 125, 130, 173, 175, Sábato, Ernesto, 26 177–8, 183 Saenz Peña Law, 134 Pons, Delia, 185 sainete, 19–20, 23, 134–5, 139–41, postmemory, 2, 24, 177, 193, 207 143, 148, 155, 157, 162, Proaño Gómez, Lola, 167 168–9, 204 Proceso de Reorganización Nacional salidas creativas (creative outlets), 39 (National Process of Sánchez, Florencio, 142, 204 Reorganization), 5 Barranco abajo (Downbythe Propato, Cecilia, En lo de Chou, 189 Gully), 142 Proyecto Archivos, 200 Sánchez, Luis Rafael, 44 Proyecto Filoctetes, 9, 156, Sanz, María de los Ángeles, 141, 176 159–61, 197 Sarmiento, Domingo Faustino, Proyecto Museos, 199 118, 121 Puenzo, Luis, 17, 90 Schaffer, Kay, 10 La historia oficial (The Official Schechner, Richard, 11, 13, 74 Story), 17, 90–1 Scheper-Hughes, Nancy, 9, 169 Scilingo, Adolfo, 7, 14–15, 21, 69, Quiroga, Osvaldo, 38 70, 91–8, 200 Segal, Charles, 44 realism, 20, 23, 142, 204 Señores ¡De pié! (Gentlemen, Rebellato, Dan, 6, 155 Stand!), 32 reconciliation, 3, 10–13, 24, 54–7, Sienra, Ariel, 85 84, 92, 103, 105, 110, 113, Sierra, Santiago, La traslación de una 115–17, 197–8, 207 cacerolada (The Displacement of Reggiardo Tolosa twins, 185 a Cacerolada), 206 Rejtman, Martín, 199 Sikkink, Kathryn, 27, 30, 58 256 I NDEX siluetazo, 39 Tellas, Vivi, 192, 199–200 Silva, Eduardo, 8 Biodrama, 192, 199 Silveyra, Soledad, 100 Escuela de conducción (Driving Simón, Julio (“Julián el Turco”), 91 School), 200 Sinay, Sergio, 67 Mi mamá y mi tía (My Mom and Slaughter, Joseph, 10 my Aunt), 200 Smith, Sidonie, 10 Museo Miguel Ángel Boezzio, 199 Snow, Clyde, 179 Proyecto Archivos, 200 Solomonoff, Julia, 20, 50, 56 Proyecto Museos, 199 Hermanas (Sisters), 20, 50, 56–8 Tenembaum, Ernesto, 181 Somigliana, Carlos, 32, 174 Tirri, Néstor, 126 Sorensen, Diana, 121 Tolcachir, Claudio, La omisión de la Spregelburd, Rafael, Lúcido familia Coleman (The Omission (Lucid), 204 of the Coleman Family), 204 Steiner, George, 44 Torres Molina, Susana, Ella, 204 Surrogation, 12, 113 Transitional Justice, 11, 17, 20–1, Svampa, Maristella, 135, 136, 25–6, 29, 31, 34, 41, 49, 102, 151, 156 105–6 Szperling, Cecilia, Confesionario, 199 Trastoy, Beatriz, 12, 38, 120, 126, 138, 175 Tantanian, Alejandro, Los mansos Tres filósofos con bigotes (Three (The Tame Ones), 204 Philosophers with Moustaches), Tarantuviez, Susana, 36 200 Taxidou, Olga, 41–2 Trial of the Generals, 7, 13–20, Taylor, Diana, 4–5, 24, 33, 42–3, 45, 25–43, 46, 48, 50–1, 66, 77, 90, 47, 56, 87, 102, 177, 187 97, 125 Teatro Abierto, 17, 23, 36, 76, Truth and Reconciliation 173–7, 188 Commission, South Africa Teatro Babilonia, 89 (TRC), 11, 94 Teatro Calibán, 80 Turner, Terence, 151 Teatro de la Máscara, 156 Teatro del Viejo Palermo, 72, 77 uncanny, 123–9 Teatro Liceo, 182 Unión Cívica Radical (Radical Civic Teatro Nacional Cervantes (National Union Party, UCR), 99 Cervantes Theatre), 52, 181, 191 Unitarian, 103–4, 109, 121 Teatro Olimpia, 100 United Nations Convention on the Teatro Picadero, 174 Rights of the Child, 179 Teatro Tabarís, 174 United Nations Covenant on Civil Teatro Victoria, 109 and Political Rights, 31 Teatroxlaidentidad Itinerante United Nations Covenant on (Traveling Theatre for Economic, Social, and Cultural Identity), 190 Rights, 31 Teatroxlaidentidad (Theatre for Ure, Alberto, 20, 50, 52, 76, 148–9, Identity), 173, 175–6, 192, 151–4, 175 198, 203 Urquiza, Justo José de, 103, 109–10, Teitel, Ruti, 7, 29, 94–5 126–7 I NDEX 257

Valencia, Anabella, Mi nombre es (My Walsh, Rodolfo, “Carta a mis Name Is), 189 amigos” (Letter to My Vallejo, César, 149 Friends), 63 Verbitsky, Horacio, 91–2, 96 Wannamaker, Annette, 46 Verdery, Katherine, 114 White, Hayden, 10, 121 Verfremdungseffekt,18 World Bank, 8 Veronese, Daniel, 19–20, 128–9, 192, World Cup, 1978, 86, 180 202–4 Wortman, Ana, 162, 165, 172 El desarrollo de la civilización venidera (The Development of Yacimientos Petrolíferos Fiscales Civilization to Come), 204 (Fiscal Petroleum Fields, Espía de una mujer que se mata YPF), 116 (Spying on a Woman who Yusem, Laura, 8, 35, 37, 43, 50, 60, Kills Herself), 204 62, 79, 100–1, 203 La forma que se despliega (The Unfolding Form), 192 Yuyachkani, 44, 56 Mujeres soñaron caballos (Women Dreamt Horses), 204 Zangaro, Patricia, 18, 24, 182, 184, Vezzetti, Hugo, 87, 116 188, 190, 203, 205 Viola, Roberto Eduardo, 46 A propósito de la duda (With Regard Vitullo, Julieta, 64 to Doubt), 18, 24, 182, 184, ¿Vos sabés quién sos? (Do you know 187–91, 203 who you are?), 18, 181, 184–7 Última luna (Last Moon), 190, 205