The historical fact of the Internal war experienced by Peru beginning in 1980 has uncovered historical-cultural problems: inequalities, racism and coloniality, and deficient process of democratization. This Dissertation describes the relationship between internal war and the richness of Popular and Independent theater production in Peru during those years (1980-2000). Approach is multidisciplinary: Cultural Theory, Performance Studies, Literary theory, Transcultural critique, Hermeneutics of Human rights and Postcolonial and Decolonial theories. In Part I, it is discussed the ways in which cultural memory of the Peruvian conflict has been constructed and current debate remains between ideological versions of the historical facts. In Part II, the text proposes eight models of theatrical appropriation of the violent reality seen in the work of urban playwrights (Sara Joffré, Alfonso Santistevan, César De María) popular and independent collectives (Yuyachkani, Barricada), and producers affected directly by internal war (Lieve Delanoy, Movimiento de Teatro Independiente). In the Conclusions, I discuss the validity of terms like postmodernity and political art regarding the experience of Andean performances and independent theatre in Peru during the period of internal war.
In this work, I suggest that a living memory of the social catastrophe was better preserved for collectivities that intervened actively in the discussion on violence throughout non-official narratives, such as independent theatre and popular Andean performances.
University of Minnesota Ph.D. dissertation. June 2011. Major: Hispanic and Luso-Brazilian Literatures and Linguistics. Advisors: Nicholas Spadaccini, Hernán Vidal,. 1 computer file (PDF); xvi, 319 pages, appendices p. 293-319.
Teatro Peruano en el periodo de conflicto armado interno (1980-2000): Estetica Teatral, derechos humanos y expectativas de descolonizacion.
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