Rituales de tinta. Antología de dramaturgas mexicanas

En este texto, Gabriela Ynclán comparte el proceso de investigación y edición de Rituales de tinta. Antología de dramaturgas mexicanas, una antología que reúne obras de teatro escritas por dramaturgas mexicanas del siglo XXI, y la gestación de una nueva publicación dedicada a la dramaturgia femenina del siglo XX en México.Ritualizing ink. Anthology of Mexican playwrightsAbstractIn this article, author Gabriela Ynclán reflects on the process of searching and editing the anthology Rituales de Tinta. Antología de Dramaturgas Mexicanas (Ink Rituals. An Anthology of Mexican Women Playwrights). The book gathers together plays written by 11 Mexican women playwrights of 21st century. The author prepares a new publication about women playwrights of 20th century Mexico.Recibido: 09 de septiembre de 2020Aceptado: 09 de diciembre de 2020

VICTORINA DURÁN: POR UNA INSERCIÓN EN EL «MOVIMIENTO DE DRAMATURGAS REPUBLICANAS»

If we take into account the theories about the concept of ge- neration —Julius Petersen, José Ortega y Gasset, Guillermo de Torre, Azorín, Pedro Salinas, Lorenzo Luzuriaga, Gerardo Diego, José Luís Cano, José Luís Aranguren to tell few names— and after what was re- leased in a previous issue (González, 2016) to the propose of a movement of republican playwrigts females, the goal of this research, owing to the recent edition of Victorina Durán’s anthology of inedit plays of vanguar- dist scenography, is to insert this last one into the list. Thus, we will apply the same premises that we already used previously with the other women playwrights to represent their validity in this emergent move- ment despite being forgotten. Nevertheless, we will constate Durán’s modernity thanks to her dramaturgics of lesbian thematic, something ground-breaking for a society that is not prepared to that yet.

“Cry with the Pack and Kill What We Fear”

After the Great War, women playwrights began to write drama addressing the consequences of war for women, the home front and for humanity as a whole and positing strategies for ways in which future wars might be prevented. This essay explores the work of these women playwrights and makes comparisons between their dramas and Woolf’s thinking about war in her novels and Three Guineas. Woolf and playwrights such as Vernon Lee, Cicely Hamilton, Muriel Box, Olive Popplewell and Elizabeth Rye ask us to examine nationalism as a catalyst for conflict and to take up the position of ‘outsiders’ in order to question our place in supporting future wars. In light of this, the essay will also address form, particularly pageantry as a mode that all these authors use to undermine the central purpose of pageantry which is to create the group cohesion that these writers believe leads to conflict.

Fifteen-Minute Moments: Black Women’s Short Plays as a Political Aesthetic of Crisis

This article examines short plays as a political aesthetic of crisis using examples from Black Lives, Black Words (2015–2017) at the Bush Theatre, London, which respond to concerns arising from the #BlackLivesMatter movement about Black deaths in police custody. I focus on Black women playwrights’ portrayals of Black mothers’ anxieties about protecting their sons, and of Black mothers and sisters grieving the loss of sons, brothers, and fathers in incidents where excessive force is deployed by the police. I consider how Black Lives, Black Words connects to the radical aesthetics of the 1960 s Black Arts Movement by promoting the use of theatre for activist purposes. I argue that the politicising potential of the Black Lives, Black Words initiative is accentuated by the use of a short play format as a political Black aesthetics for responding to contemporary crises. By analysing pivotal moments in a sample of the fifteen-minute plays, I demonstrate how the content of the plays combines with their performance styles to maximise the potential for audience empathy despite their short playing times.

El monólogo como práctica dramatúrgica feminista en los años ochenta: el ejemplo de Maribel Lázaro (La fosa y La defensa)

The visibility and recognition of Women playwrights in Spanish theater did not occur until the eighties after the conquests of feminist movements. For that reason, women playwrights explore in their works new ways of thinking about subjectivity. The monologue provides them with a way of exploring themselves and with a form of engaged theater. This textual corpus is studied in this article in a global way in order to contextualize feminist dramaturgies and in particular the dramatic proposals of Maribel Lázaro, who in 1986 wrote two monologues La fosa [The pit] and La defensa [The defense]. Therefore, we analyze the terminological problem around the concept of «monologue». Moreover, we reflect on the dramatic structure in which the denunciation, self-recognition and negation of the discourse of the female character coexist in a paradox that opens the path to a consolidation of the feminist theater in Spain.