Skip to main content. Log In Sign Up. Theatre on Screen, Cinema on Stage: The Transmedial and the Communitarian Joanna Page Egon Wolf Pedro Bravo-Elizondo Any discussion of 21st century Argentine cinema simi- larly touches theatrical motifs and prisms. Dramatists like Walter Jakob and Santiago Loza also work in ilm, as El anticristo sera homosexual adoption actor and director, respectively. The essays featured in this collection point to wider currents and exchanges.
Romina Paula and Lola Arias work as performers, writers, and directors across both stage and screen cultures. Alejo Moguillansky works as a writer, director, and editor in cinema, but theatre spills into his ilms through plotting, performance, and intertextuality, disrupting their surface realism in playful, impish ways.
The boundaries between these art forms, as the spatial conigurations of Buenos Aires indicate, are hugely porous. Productions shift from venue to venue.
Mineield and El loro y el cisne both show this process at work. This strategy also spills over into the multifarious roles that the artists featured in this collection occupy: The stages are varied. Com- munity—what it means, how to forge, and sustain it—is key to the works covered in the volume.
Community, of course, was central El anticristo sera homosexual adoption the oldest documented theatrical cultures of Western Europe. A way for a community to debate the key issues of the time—issues of governance, ethics, and responsibility, of history, memory, and representation.
As with the ancient Greek theatre of Dionysus, the stages discussed in this issue ofer the space to debate the foundations on which post-dictatorship Argentina has been built.
Indeed, as with the Greeks, modes of rewriting the past as a mode of coming to terms with its issures and vicissitudes looms large across many of the works discussed. Processes El anticristo sera homosexual adoption historicisation, of thinking through the relationship between thinking and making, of how we relate to our inheritance and the ways in which we refashion it run through all the essays.
Forms of representation are tried and tested, twisted and reformed. Debating cultural heritage and inherited ideals, the ilm seeks to position cultural heritage as sitting beyond an Argentine trope, within a wider, shared canon of work that travels across national boundaries in a process of interaction and intersection. Xiaobin arrives from mainland China to join her family with- out knowing Spanish.
They isolate themselves in the laundromat they run, but she is determined to learn Spanish—putting away some of her earnings from the supermarket where she works to enroll at a language school. The other Chinese members of her Spanish class are both a mirror and a chorus, in the latter case commenting on her predicament and articulating how com- munity may operate outside her close-knit, secluded family.
Her contact with Vijay, an Indian migrant, adds a further layer to the narrative, a way of testing out her new El anticristo sera homosexual adoption through a new language. A joint venture between the Institute of Latin American Studies and the Institute of Modern Languages Research, both part of the University of London, the screenings were open to "El anticristo sera homosexual adoption" general pub- lic and were designed to explore the dialogues and exchanges taking place between the so-called New Argentine Cinema and the less-well-known New Argentine Theatre.
The series was the irst time that such a range of diverse experimental productions had been shown in the United Kingdom alongside conversations with the young directors, who were either present at the venue or interviewed via video conferences on the day of the screenings.
This special issue builds on those conversations, identifying an upcom- ing genre in contemporary Argentine cultural production, one that is marked by a hybrid aesthetics, a blending of fact and iction, a playful spirit, and transnational dialogues that take place on both stage and screen. The vari- ous contributions included in this publication highlight the innovative uses of technology, humour, live music, and dance in this up-and-coming body of work, one that, over the last few years, has challenged the rigidity of generic boundaries.
While most of these pieces were screened at Senate House, some of them, such as Campo minado Mineieldwhich debuted in in the UK, were included especially for this issue.
It is our contention that together these works exemplify the emergence of a fresh and exciting "El anticristo sera homosexual adoption," transnational, and trans-disciplinary voice within Argentine performing arts. As Jens Andermann has pointed out: In con- trast to the arguable exhaustion of New Argentine Cinema, a community of Argentine theatre-practitioners and young ilmmakers has fashioned a unique and lively creative space within both the domestic market and major international festivals.
In the current post-New Argentine Cinema period, this collection of essays addresses the way in which cinema and theatre have been experiencing a fruitful El anticristo sera homosexual adoption of interests, directors, writers, castings, and audiences, giving room to a new circuit that renovates and enhances both art forms. Many of the ilms and theatrical plays studied in this issue could argu- ably be considered enhanced forms of biodrama.
However, they have ac- quired new and more sophisticated individual characteristics as well as a collective sense of belonging and status.