Action and detention: notes for the study of the popular actor in Argentina and Mexico

Article Sidebar

PDF (Spanish)
Published: Dec 30, 2020
Keywords:
acting, tierra; mugre; detention

Main Article Content

Martín Rodríguez
Universidad de Buenos Aires.

Abstract

The purpose of this article is to develop some key concepts for the comparative study of popular Argentine and Mexican actors within what we call the Revolutionary Model of Periodization. It is a way of thinking of popular actors as producers (as opposed to what we call actors creators) and of putting them in relation to two fundamental categories, “tierra” y “mugre”, closely linked to detention and to a particular way of conceiving time.

Article Details

How to Cite
Action and detention: notes for the study of the popular actor in Argentina and Mexico. (2020). Heterotopías, 3(6), 1-22. https://revistas.unc.edu.ar/index.php/heterotopias/article/view/31613
Issue
Vol. 3 No. 6 (2020): "Experience of the pause and pause of experience: thought, speeches and practices in detention"
Section
Dossier
Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

Those authors who have publications with this journal, accept the following terms: Those authors who have publications with this journal, accept the following terms:


a. The authors will keep their copyright and guarantee to the journal the right of first publication of their work, which will be simultaneously subject to the Creative Commons Attribution - Non-Commercial - Share Alike (by-nc-sa) Attribution License; no commercial use of the original work or any derivative works is allowed, the distribution of which must be done with a license equal to the one that regulates the original work.

b. Authors may adopt other non-exclusive license agreements for the distribution of the published version of the work (e.g., deposit it in an institutional telematic archive or publish it in a monographic volume) provided that the initial publication in this journal is indicated.

c. Authors are allowed and recommended to disseminate their work through the Internet (e.g. in institutional telematic archives or on their website) before and during the submission process, which may lead to interesting exchanges and increase the number of citations of the published work. (See The effect of open access).

 

Author Biography

Martín Rodríguez, Universidad de Buenos Aires.

Ph.D. in Arts (University of Buenos Aires) and Master in Sociology of Cultureand Cultural Analysis (IDAES-Universidad Nacional de San Martín) He is Professor ofthe subject Panorama del Teatro Latinoamericano at the UNA (Universidad Nacional dethe Arts) and Assistant Researcher of the National Council of Science andTechnology (CONICET). He is a member of the Doctorate of Arts Commission of the UNA and hasdirected research projects financed by CONICET and the National Agencyof Scientific and Technological Promotion. During 2010 he was awarded a scholarship forconduct post-doctoral research on Mexican and Argentinean popular actorsat the National Autonomous University of Mexico. Between the years 2011 and 2015 hedirected the Argentine and Ibero-American Theatre Study Group (GETEA) and theTeatro XXI magazine together with Marina Sikora. In the year 2016,he becameDirector of the Institute of Theatre Research of the National Universityof the Arts.

How to Cite

Action and detention: notes for the study of the popular actor in Argentina and Mexico. (2020). Heterotopías, 3(6), 1-22. https://revistas.unc.edu.ar/index.php/heterotopias/article/view/31613

References

Benjamin, W. (1989a). Experiencia y pobreza. EnBenjamin W. Discursos interrumpidos I. (165-173). Madrid: Taurus.

Benjamin, W. (1989b). Tesis de filosofía de la historia. En Benjamin W. Discursos interrumpidos I. (175-191). Madrid: Taurus.

Benjamin, W. (1991). La enseñanza de lo semejante. En Benjamin. W. Para una crítica de la violencia y otros ensayos. Iluminaciones IV. (pp. 85-89). Madrid: Alfaguara.

Benjamin, W. (2002). El autor como productor. En Benjamin, W. Ensayos. Tomo V. (pp. 111-129).Madrid: Editora Nacional.

Benjamin, W. (2002b). ¿Qué es el teatro épico? (Primera versión). En Benjamin, W. Ensayos. Tomo V. (pp. 7-19).Madrid: Editora Nacional.

Catalán, A. (2002). “Producción de sentido actoral”. Teatro XXI, 12 (pp. 15-20).

Deleuze, G. (2009). La imagen-tiempo. Buenos Aires: Paidós.

Deleuze, G. (2017). Cine I. Bergson y las imágenes. Buenos Aires: Cactus

Deleuze, G. (2018). Cine III. Verdad y tiempo. Potencias de lo falso. Buenos Aires: Cactus.

Deleuze, G. y Guattari, F. (2004). Mil mesetas. Valencia: Pre-Textos.

Ferreyra, S. (2019). Estética de lo inefable. Hacia una genealogía materialista del teatro argentino. Los Polvorines: Universidad Nacional de General Sarmiento.

Ferreyra. S. y Rodríguez, M. (en prensa). El actor como productor: hacia un análisis materialista de la actuación en Buenos Aires. Apuntes de teatro, 143.

García Brunelli, O. (2015). La cuestión del fraseo en el tango. Zama, 7.

Gonzalez, M. (2010). La mugre en el tango. Punto tango, 46.

Lapoujade, D. (2016). Deleuze. Los movimientos aberrantes. Buenos Aires: Cactus.

Monjeau, F. y Filipelli, R. (2006). Fue lindo mientras duró. Contribuciones a una crítica del tango. Punto de Vista, 86.

Mosivais, C. (1992). Las mitologías del cine mexicano. Revista Inter Medios, 2.

Nietzsche, F. (2008). La genealogía de la moral.Buenos Aires: Alianza Editorial.

Nietzsche, F. (2001). La gaya ciencia. Madrid: Akal.

Pelinsky, R. (2000). Invitación a la etnomusicología. Quince fragmentos y un tango. Madrid: Akal.

Rodríguez, M. (2015). El actor nacional argentino y el cómico mexicano: hacia un modelo revolucionario de periodización. En Sureda-Cagliani, S. (dir.). Representaciones estéticas en Argentina y en el Río de la Plata siglos XIX, XX, XXI. Política, fiestas y excesos. Perpignan: Presses Universitaires de Perpignan.

Russo, F. (2011). El tango cantado. Una lectura acerca del canto en la Escuela Gardeliana. Buenos Aires: Corregidor.

Svampa, M. (1994). El dilema argentino: civilización o barbarie. De Sarmiento al revisionismo peronista. Buenos Aires: El cielo por asalto.