Hostname: page-component-cd9895bd7-lnqnp Total loading time: 0 Render date: 2024-12-26T07:47:42.389Z Has data issue: false hasContentIssue false

Prophesizing the End of Theatre

La Laura Palmer’s Animales invisibles

Published online by Cambridge University Press:  15 September 2021

Abstract

The Chilean police keep firing pellets and tear gas bombs in the streets, blinding and injuring people by the hundreds. The people keep demonstrating. Two months before the protests of October 2019, a problematic documentary play, Animales invisibles, while distorting the genre, prophesied what was to come precisely in the way it departed from the documentary.

Type
Critical Acts
Copyright
© The Author(s) 2021. Published by Cambridge University Press for Tisch School of the Arts/NYU

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Arias, , , Lola. n.d. “The Year I Was Born.” LolaArias.com. Accessed 4 December 2019. lolaarias.com/the-year-i-was-born/.Google Scholar
BBC Mundo. 2019. “Protestas en Chile: ‘Estamos en Guerra,’ la frase de Piñera que se le volvió en contra en medio de las fuertes manifestaciones.” BBC News Mundo, 22 October. www.bbc.com/mundo/noticias-america-latina-50139270.Google Scholar
Castillo, Juan Carlos. 2019. “¿Nadie lo vio venir?CIPER, 25 October. Accessed 1 January 2020. ciperchile.cl/2019/10/25/nadie-lo-vio-venir/.Google Scholar
Cultura, El Mostrador. 2018. “Compañía de teatro La Laura Palmer celebra 10 años en Teatro Camilo Henríquez.” El Mostrador, 18 June. Accessed 5 February 2020. www.elmostrador.cl/cultura/2018/06/18/compania-de-teatro-la-laura-palmer-celebra-10-anos-en-teatro-camilo-henriquez/.Google Scholar
Hiedra, Equipo. 2018. “Teatro documental, biográfico: una conversación con La Laura Palmer.” Hiedra FM, episode 21, 24 August. Accessed 1 February 2020. revistahiedra.cl/hiedrafm/hiedra-fm-e21-teatro-documental-biografico-una-conversacion-con-la-laura-palmer/.Google Scholar
Hainge, Greg. 2004. “Weird or Loopy? Specular Spaces, Feedback, and Artifice in Lost Highway’s Aesthetics of Sensation.” In The Cinema of David Lynch: American Dreams, Nightmare Visions, ed. Sheen, Erica and Davison, Annette, 136–50. London: Wallflower Press.Google Scholar
Klein, Naomi. 2008. The Shock Doctrine: The Rise of Disaster Capitalism. New York: Picador.Google Scholar
Martin, Carol. 2013. Theatre of the Real. New York: Palgrave Macmillan.CrossRefGoogle Scholar
Opazo, Cristián. 2019. “Oficio común: Teatro chileno y el estallido social.” ElDesconcierto.cl, 19 December. Accessed 1 February 2020. www.eldesconcierto.cl/opinion/2019/12/19/oficio-comun-los-teatros-chilenos-y-el-estallido-social.html.Google Scholar
Piña, Juan Andrés. 2014. Historia del teatro en Chile, 1941-1990. Santiago: Taurus.Google Scholar
Richard, Nelly. 2019. “La conmemoración del los 40 años del golpe militar… y después.” In Democracias incompletas: debates críticos en el Cono Sur, ed. Blanco, Fernando A. and Opazo, Cristián, 3151. Santiago: Cuarto Propio.Google Scholar
Sepúlveda Corradini, Gabriel. 2001. Víctor Jara: hombre de teatro. Santiago: Sudamericana.Google Scholar
La Tercera. 2019. “La crisis que nadie previó: Los futbolistas sacan la voz.” La Tercera, 19 October:13.Google Scholar