Micropolítica de la resistencia en Cardenal (o el fulbac de los sueños). Teatro como resisntencia al neoliberalismo en la Norpatagonia.

Abstract

It is interesting to ask ourselves how, historically, in contexts of political, social, and economic crises, theater—and art in general—has found ways to resist or denounce inequalities, as well as to imagine and offer possible futures. Based on this interest, the first category I discovered—and which would later trigger the present investigation—was the micropolitics of resistance, proposed by the artist and intellectual Eduardo Pavlovsky. The micropolitics of resistance is a key concept that runs through the author's reflections and textual productions from 1988 to 2004. It is characterized by proposing a mode of resistance to the neoliberal context that gripped Argentina at the end of the 20th century, with governments and policies that generated profound economic, social, and cultural crises. The micropolitics of resistance was studied by the Argentine historian Jorge Dubatti as part of his research for his doctoral thesis, "Eduardo Pavlovsky: Poetics and Politics," presented at the National University of Buenos Aires in 2004. This work analyzes how the micropolitics of resistance manifests itself in the creative process and premiere of Cardenal (or the fulbac of dreams), a Bariloche work premiered in 2001. This work examines the relationship between the micropolitics of resistance and the notion of territory that Dubatti proposes to contextualize the production of Cardenal (or the fulbac of dreams). This work also explores what aspects of the micropolitics of resistance analyzed by Dubatti in Rojos globos rojos can be recognized in Cardenal (or the fulbac of dreams). This work also analyzes the production process and premiere of Cardenal (or the fulbac of dreams), paying attention to the relationships and influences that territory has on it. that is created.