theatre and visual arts history after 1973 group 1

24
Theatre and Visual Arts History after 1973 Group 1

Upload: tracy-morgan

Post on 30-Dec-2015

219 views

Category:

Documents


2 download

TRANSCRIPT

Page 1: Theatre and Visual Arts History after 1973 Group 1

Theatre and Visual Arts History after 1973

Theatre and Visual Arts History after 1973

Group 1Group 1

Page 2: Theatre and Visual Arts History after 1973 Group 1

OVERVIEWOVERVIEW

This slideshow will cover major historical landmarks in Chilean theatre and visual art after 1973, including:

The death of Allende The Pinochet regime Street Theatre The Avanzada and Teatro Abierto The use of the body as an artistic

medium

This slideshow will cover major historical landmarks in Chilean theatre and visual art after 1973, including:

The death of Allende The Pinochet regime Street Theatre The Avanzada and Teatro Abierto The use of the body as an artistic

medium

Page 3: Theatre and Visual Arts History after 1973 Group 1

The Fall of AllendeThe Fall of Allende

Allende was the socialist leader in Chile until 1973

On September 11, 1973 a military coup, orchestrated by Pinochet, stormed the presidential palace and seized control of the country.

Allede, shamed, committed suicide.

Allende was the socialist leader in Chile until 1973

On September 11, 1973 a military coup, orchestrated by Pinochet, stormed the presidential palace and seized control of the country.

Allede, shamed, committed suicide.

Page 4: Theatre and Visual Arts History after 1973 Group 1

The Rise of the Pinochet Regime and CensorshipThe Rise of the Pinochet Regime and Censorship

After Allende’s death Pinochet instituted a military government.

This new government began censoring different aspects of life in Chile.

Oddly enough, the theatre was (technically) one of the least restricted areas under the new regime.

After Allende’s death Pinochet instituted a military government.

This new government began censoring different aspects of life in Chile.

Oddly enough, the theatre was (technically) one of the least restricted areas under the new regime.

Page 5: Theatre and Visual Arts History after 1973 Group 1
Page 6: Theatre and Visual Arts History after 1973 Group 1

The People: StifledThe People: Stifled

The new regime enacted many new policies that censored the freedoms of the Chilean people.

Activists that opposed the new military government would disappear, be tortured and imprisoned.

Anyone opposing the government was “dealt with”

Any institution that opposed the government, if not shut down directly, had its funding taken away.

The new regime enacted many new policies that censored the freedoms of the Chilean people.

Activists that opposed the new military government would disappear, be tortured and imprisoned.

Anyone opposing the government was “dealt with”

Any institution that opposed the government, if not shut down directly, had its funding taken away.

Page 7: Theatre and Visual Arts History after 1973 Group 1

The Theatre: CensoredThe Theatre: Censored

The theatre was not the government’s primary concern.

Government Officials felt that theatre was not a danger.

They didn’t believe that it was an effective medium in which to communicate ideas and, therefore, didn’t worry about it.

The theatre was not the government’s primary concern.

Government Officials felt that theatre was not a danger.

They didn’t believe that it was an effective medium in which to communicate ideas and, therefore, didn’t worry about it.

Page 8: Theatre and Visual Arts History after 1973 Group 1

The Theatre: CensoredThe Theatre: Censored

Even though the theatre wasn’t the target of most government censorship, this isn’t to say that the theatre wasn’t effected.

The government was always on the look out for anything that is anti-government.

So any theatre piece that was openly anti-Pinochet was shut down.

Even though the theatre wasn’t the target of most government censorship, this isn’t to say that the theatre wasn’t effected.

The government was always on the look out for anything that is anti-government.

So any theatre piece that was openly anti-Pinochet was shut down.

Page 9: Theatre and Visual Arts History after 1973 Group 1

The Theatre: CensoredThe Theatre: Censored

“There is no criteria [on what is being censored] so you have to decide how much you are prepared to risk. That’s why there is no censorship. If there was, you could study the guidelines before doing a production. But this arrangement allows them to say that we don’t have censorship. They decide if it is cultural or not. And if its cultural they will recommend students to go and see the play. If it is not, they tax us instead.” --Hector Noguera

“There is no criteria [on what is being censored] so you have to decide how much you are prepared to risk. That’s why there is no censorship. If there was, you could study the guidelines before doing a production. But this arrangement allows them to say that we don’t have censorship. They decide if it is cultural or not. And if its cultural they will recommend students to go and see the play. If it is not, they tax us instead.” --Hector Noguera

Page 10: Theatre and Visual Arts History after 1973 Group 1

Censorship Fosters Creativity

Censorship Fosters Creativity

Many people maintain that the creative explosion succeeding the military coup of 1973 would not have been possible without the cruelty of the Pinochet regime

During Allende’s presidency, the artistic and theatrical scene of Chile was relatively stagnant, dealing mostly with the social issues of the proletariat versus the upper classes. They were merely demonstratory, educating the populace about the beliefs of a socialist government.

The Pinochet regime inspired Chilean artists with a unified cause

Many people maintain that the creative explosion succeeding the military coup of 1973 would not have been possible without the cruelty of the Pinochet regime

During Allende’s presidency, the artistic and theatrical scene of Chile was relatively stagnant, dealing mostly with the social issues of the proletariat versus the upper classes. They were merely demonstratory, educating the populace about the beliefs of a socialist government.

The Pinochet regime inspired Chilean artists with a unified cause

Page 11: Theatre and Visual Arts History after 1973 Group 1

Metaphor as CodeMetaphor as Code

In order to avoid government persecution, theatre and visual artists resorted to using metaphor to express social and political commentary without overtly speaking out against the government and risking torture.

In order to avoid government persecution, theatre and visual artists resorted to using metaphor to express social and political commentary without overtly speaking out against the government and risking torture.

Page 12: Theatre and Visual Arts History after 1973 Group 1

Metaphor: The Continuing StoryMetaphor: The Continuing Story

“Metaphor not only intervenes at the level of thematic expression, or at the documentary level of image selection, but also at the material level of artistic elaboration… That which is shown or said is always tactically equivalent to something else. That which cannot be said or shown… whose secret is quite familiar to the reader or viewer.” - Nelly Richard, Margins and Institutions

“Metaphor not only intervenes at the level of thematic expression, or at the documentary level of image selection, but also at the material level of artistic elaboration… That which is shown or said is always tactically equivalent to something else. That which cannot be said or shown… whose secret is quite familiar to the reader or viewer.” - Nelly Richard, Margins and Institutions

Page 13: Theatre and Visual Arts History after 1973 Group 1

Metaphor: Effective?Metaphor: Effective?

Though metaphor was effective in getting around the restrictions placed by the regime, there is some argument as to its effectiveness in reaching out to the public.

Because the metaphors needed to be so abstract in order to get past the regime’s censors, they were often lost on a more general audience.

Though metaphor was effective in getting around the restrictions placed by the regime, there is some argument as to its effectiveness in reaching out to the public.

Because the metaphors needed to be so abstract in order to get past the regime’s censors, they were often lost on a more general audience.

Page 14: Theatre and Visual Arts History after 1973 Group 1

Teatro AbiertoTeatro Abierto

Theater Festival, 1981-1985 Set up in opposition to the censorship

established by the Pinochet regime Numerous projects selected in order to

foster a formerly suppressed freedom of speech and ideas

Many artists around Chile participated and it was a great success in its first couple years

Theater Festival, 1981-1985 Set up in opposition to the censorship

established by the Pinochet regime Numerous projects selected in order to

foster a formerly suppressed freedom of speech and ideas

Many artists around Chile participated and it was a great success in its first couple years

Page 15: Theatre and Visual Arts History after 1973 Group 1
Page 16: Theatre and Visual Arts History after 1973 Group 1
Page 17: Theatre and Visual Arts History after 1973 Group 1

The Disintegration of Teatro Abierto

The Disintegration of Teatro Abierto

By 1985 Teatro Abierto had collapsed due to its inability to adapt to changing political and cultural climate

It was established to oppose the regime, and once that had fallen, the festival had fulfilled its purpose

By 1985 Teatro Abierto had collapsed due to its inability to adapt to changing political and cultural climate

It was established to oppose the regime, and once that had fallen, the festival had fulfilled its purpose

Page 18: Theatre and Visual Arts History after 1973 Group 1

Street TheatreStreet Theatre

Street theatre flourished during the Pinochet regime.

It created a public forum that was normally kept private.

The actors openly called out public officials in the audience in order to protect themselves as well as criticize the regime.

Street theatre was very dangerous in that it was openly anti-Pinochet and it fought against the censorships imposed by his regime.

Street theatre flourished during the Pinochet regime.

It created a public forum that was normally kept private.

The actors openly called out public officials in the audience in order to protect themselves as well as criticize the regime.

Street theatre was very dangerous in that it was openly anti-Pinochet and it fought against the censorships imposed by his regime.

Page 19: Theatre and Visual Arts History after 1973 Group 1

The Body as an Artistic Medium

The Body as an Artistic Medium

Chilean artists began using their own bodies as canvases for their art.

By using themselves as an artistic medium, artists were able to appeal to the public on a personal and universal level.

Chilean artists began using their own bodies as canvases for their art.

By using themselves as an artistic medium, artists were able to appeal to the public on a personal and universal level.

Page 20: Theatre and Visual Arts History after 1973 Group 1

Self MutilationSelf Mutilation

Later in the Pinochet period, artists began to use their own bodies to mimic and expose the physical and emotional pain brought upon them by the government

They also considered it an act of rebellion and martyrdom, mutilating and seizing ownership of the self where it had be lost to a cruel and controlling government

“Zurita and Eltit appeal to pain as a way of approaching that borderline between individual and collective experience: their self-punishment merges with an ‘us’ that is both redeemer and redeemed.” - The Rhetoric of the Body

Later in the Pinochet period, artists began to use their own bodies to mimic and expose the physical and emotional pain brought upon them by the government

They also considered it an act of rebellion and martyrdom, mutilating and seizing ownership of the self where it had be lost to a cruel and controlling government

“Zurita and Eltit appeal to pain as a way of approaching that borderline between individual and collective experience: their self-punishment merges with an ‘us’ that is both redeemer and redeemed.” - The Rhetoric of the Body

Page 21: Theatre and Visual Arts History after 1973 Group 1

The Fall of the Pinochet Regime

The Fall of the Pinochet Regime

The 1988 ReferandumLegally voted Pinochet out of officeOnly 56% were in favor of

removing him from officeChile began transitioning into

DemocracyThe censorship of the Military

Regime was lifted

The 1988 ReferandumLegally voted Pinochet out of officeOnly 56% were in favor of

removing him from officeChile began transitioning into

DemocracyThe censorship of the Military

Regime was lifted

Page 22: Theatre and Visual Arts History after 1973 Group 1

The Fate of PinochetThe Fate of Pinochet He remained Commander in Chief

of the Army until 1998 Chile made him a Senator for life Created the status “Ex-President”

which gave him special rights. 1998- arrested by Spanish officials

for crimes he committed as a dictator-including torture, mass murder, human rights violations.

He remained Commander in Chief of the Army until 1998

Chile made him a Senator for life Created the status “Ex-President”

which gave him special rights. 1998- arrested by Spanish officials

for crimes he committed as a dictator-including torture, mass murder, human rights violations.

Page 23: Theatre and Visual Arts History after 1973 Group 1

The Fate of Pinochet IIThe Fate of Pinochet II

Pinochet was released from prison in 2000 for medical reasons.

He returned to Chile without facing trial.

He died in 2006.

Pinochet was released from prison in 2000 for medical reasons.

He returned to Chile without facing trial.

He died in 2006.

Page 24: Theatre and Visual Arts History after 1973 Group 1

Post-Pinochet TheatrePost-Pinochet Theatre

After Pinochet was removed from power, most of the censorship imposed by his regime was slowly removed.

However, because theatre became so politically charged under military control, Chilean theatre today is still inherently political in nature.

Coco Fusco

After Pinochet was removed from power, most of the censorship imposed by his regime was slowly removed.

However, because theatre became so politically charged under military control, Chilean theatre today is still inherently political in nature.

Coco Fusco