Múltiples identidades narrativas en el espacio teatral

Abstract

Buenos Aires is one of the cultural capitals of the world. Official data show
that there are six official theaters, twelve private theaters and more than two hundred
commercial and independent theater spaces, of which more than seventy percent runs in
unconventional places. According to Antonio Gramsci, hegemony is an ideological structure, discursive, aesthetic that legitimizes the status quo, in a historic, political and cultural
context. Therefore, hegemony legitimate certain expressive ideologies and discourses over
others. Official and commercial circuits responds to a hegemonic theater model. However, theater productions and independent spaces are significant. It is necessary to reformulate the concept of ‘independent’ theater of Leonidas Barletta. Nowadays, the National
Theatre Institute, Proteatro and the National Art Foundation provide the funds for independent theater projects. Therefore, they carry a relative autonomy, governed by the laws
of selection of these institutions, becoming ‘alternative’ rather than ‘independent’. The off of the off theater arises as a spectral shape of the “alternative” circuit. These theaters are homes of directors and actors, warehouses or other places that do not meet the enabling
requirements for a theater. The aim of this paper is to describe and articulate critical thinking about the identity of the City theater space. The nodal point is the identity theory of Paul Ricoer who conceives personal identity as a narrative identity. The article hypothesis
rests on the following prediction: The ‘theater circuit’ can not be defined under the logic
of binary thinking. It is necessary to use the deconstructivist thought to reflect on the
current theater space.