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By Jean Graham-Jones

"In Exorcising heritage, Jean Graham-Jones files, contextualizes, and analyzes theater produced in Buenos Aires in the course of Argentina's army dictatorship of 1976-83 and the nation's next go back to democracy. The performs mentioned, whereas no longer inevitably constituting "political theater," are certainly political in that every is conditioned by way of sociopolitical buildings current in the intervening time of construction. it's in this  Read more...

Introduction: Theater and the kingdom: Buenos Aires, 1976 --
1. 1976-1979: Theater "Metaphorizes" truth --
2. 1980-1982: Myths Unmasked, Unrealities uncovered --
3. Vigilant, Vigilante Theater: Teatro Abierto (1981-1985) --
4. 1983-1985: Settling money owed --
Conclusion: 1976-1985: From a Reactive Theater to a Theater in situation --
App. 1. chosen performs Staged in Buenos Aires (1976-1985) --
App. 2. A Chronology of Argentine occasions (1966-1987).

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Rojas ( 1 992) personi­ fies the rnitos as "the myth of the conqueror, the myth of the nero of the Independence, the myth of the cattle rancher, the myth of the industrialist, and the myth of the fascist'' ( 1 63). This personification enables us to form individual associations from the text's five mythic transformations and demonstrates the fusion of the play's thre� lev­ els of dance marathon, individual dream, and collective myth: l . Pedro Vespucci, the tubercular bricklayer, becomes Pedro de Mendoza (and quite possibly Amerigo Vespucci).

On the Emcee and Bodyguard's actions. He is the only one who consciously chooses to stay and combat the power structure; and his choice to stay with his wife offers the possibility of human solidarity and the chance of awaking from the nightmare of this self­ perpetuated collective mythology. Nevertheless, the prognosis is not optimistic. At play's end, Hector is alone, abandoned by the younger generation and surrounded by others who continue to dream. The negative situation encircles him as the Emcee's last words ring out in a repetition of the first scene: "If it weren't ridiculous, this would be a tragedy.

Shortly after Alsina and Balmaceda tally their scores, a distant siren is heard from offstage. It is heard again shortly thereafter and is re­ peated six other times during the course of action . As the characters attempt to control their surrounding reality, they transform even these acoustical effects. Soon after the third siren has been heard, Carlitos thinks he hears an organito when the sirens sound for the fourth time. The next time the siren is heard, it is transformed, in accordance' with the stage directions, into the hand-organ music foreshadowed in Carlitos's earlier perception.

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