Unspooling from the Center: Krapp´s Last Tape and Post-Dictatorship Argentina

Autores
Nudler, Alicia Clara
Año de publicación
2022
Idioma
inglés
Tipo de recurso
documento de conferencia
Estado
versión publicada
Descripción
Fil: Nudler, Alicia Clara. Universidad Nacional de Río Negro. Río Negro, Argentina.
Paper presentado en el Samuel Beckett Working Group en la Conferencia Anual de la International Federation of Theater Research en Reykjavic, Islandia, junio 2022.
This paper will address Beckett´s 1958 play Krapp´s Last Tape, seeing it in the context of post-dictatorship theatre in Argentina. Critics discuss the significance of the long period in theatre following the end of the last dictatorship (1976-1983), up to the present. In wider terms this period is marked by the redefinition of the country as it struggles with the consequences of violent and oppressive right-wing rule. Argentinian theatre has worked in many different ways to process this historic horror, and to deal with the past in terms both of memory and absence. Critic Dubatti states that in this country the dead dwell in the consciousness of post-dictatorship spectators, and theatre and other artistic forms take it as their task to invoke them. In this work, I will look at specific stagings of Beckett´s Krapp´s Last Tape (1986, 2000 and 2016) in Argentina under this light. I argue that various themes in the play serve as powerful metaphors for the social, political and judicial processes taking place in the country in relation to the years of the state repression. These include the vital role of archives -like the archive of memories Krapp keeps- in negotiating presence and absence, marking the mutability of identity and the long-term effects of trauma, mourning and loss. Delving deeper into Argentinian theatre, I will refer to a performance company, formed in 1998, that named itself after Beckett´s character, Grupo Krapp. Looking at this group as a resonance of Krapp´s Last Tape, I will refer to three of their productions: Adonde van los muertos (Lado A) (Where deadmen go, Side A); Retrocedida Krapp (Reversing/Rewinding Krapp) and finally Réquiem: La última cinta del grupo Krapp (Requiem: The last tape of the group Krapp). This last production, premiered in October 2021, is a homage to one of the directors of the group who died from Covid-19, and takes several elements from Beckett´s play. My examination of the impact and continuing unspooling of Krapp’s Last Tape in Argentinian theatre allows me to bring together three conditions or awarenesses that function simultaneously today in this country: Krapp /post-Krapp; Argentina pre/post dictatorship; analogue/digital recording. The continuing relevance and contemporaneity of Beckett’s short play and its subsequent creative derivations are linked directly to the social memory of Argentinian audiences.
Materia
Humanidades
Krapp´s Last Tape
Post-dictatorship theater
Argentina
Archives
Grupo Krapp
Luis Biasotto
Humanidades
Nivel de accesibilidad
acceso abierto
Condiciones de uso
https://creativecommons.org/licenses/by-nc-sa/4.0/
Repositorio
RID-UNRN (UNRN)
Institución
Universidad Nacional de Río Negro
OAI Identificador
oai:rid.unrn.edu.ar:20.500.12049/8925

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network_name_str RID-UNRN (UNRN)
spelling Unspooling from the Center: Krapp´s Last Tape and Post-Dictatorship ArgentinaNudler, Alicia ClaraHumanidadesKrapp´s Last TapePost-dictatorship theaterArgentinaArchivesGrupo KrappLuis BiasottoHumanidadesFil: Nudler, Alicia Clara. Universidad Nacional de Río Negro. Río Negro, Argentina.Paper presentado en el Samuel Beckett Working Group en la Conferencia Anual de la International Federation of Theater Research en Reykjavic, Islandia, junio 2022.This paper will address Beckett´s 1958 play Krapp´s Last Tape, seeing it in the context of post-dictatorship theatre in Argentina. Critics discuss the significance of the long period in theatre following the end of the last dictatorship (1976-1983), up to the present. In wider terms this period is marked by the redefinition of the country as it struggles with the consequences of violent and oppressive right-wing rule. Argentinian theatre has worked in many different ways to process this historic horror, and to deal with the past in terms both of memory and absence. Critic Dubatti states that in this country the dead dwell in the consciousness of post-dictatorship spectators, and theatre and other artistic forms take it as their task to invoke them. In this work, I will look at specific stagings of Beckett´s Krapp´s Last Tape (1986, 2000 and 2016) in Argentina under this light. I argue that various themes in the play serve as powerful metaphors for the social, political and judicial processes taking place in the country in relation to the years of the state repression. These include the vital role of archives -like the archive of memories Krapp keeps- in negotiating presence and absence, marking the mutability of identity and the long-term effects of trauma, mourning and loss. Delving deeper into Argentinian theatre, I will refer to a performance company, formed in 1998, that named itself after Beckett´s character, Grupo Krapp. Looking at this group as a resonance of Krapp´s Last Tape, I will refer to three of their productions: Adonde van los muertos (Lado A) (Where deadmen go, Side A); Retrocedida Krapp (Reversing/Rewinding Krapp) and finally Réquiem: La última cinta del grupo Krapp (Requiem: The last tape of the group Krapp). This last production, premiered in October 2021, is a homage to one of the directors of the group who died from Covid-19, and takes several elements from Beckett´s play. My examination of the impact and continuing unspooling of Krapp’s Last Tape in Argentinian theatre allows me to bring together three conditions or awarenesses that function simultaneously today in this country: Krapp /post-Krapp; Argentina pre/post dictatorship; analogue/digital recording. The continuing relevance and contemporaneity of Beckett’s short play and its subsequent creative derivations are linked directly to the social memory of Argentinian audiences.2022-06-26info:eu-repo/semantics/conferenceObjectinfo:eu-repo/semantics/publishedVersionhttp://purl.org/coar/resource_type/c_5794info:ar-repo/semantics/documentoDeConferenciaapplication/pdfhttp://rid.unrn.edu.ar/handle/20.500.12049/8925enghttps://iftr.org/conferenceIFTR World Congress. Shifting Centers: In the middle of nowhereinfo:eu-repo/semantics/openAccesshttps://creativecommons.org/licenses/by-nc-sa/4.0/reponame:RID-UNRN (UNRN)instname:Universidad Nacional de Río Negro2025-09-29T14:28:47Zoai:rid.unrn.edu.ar:20.500.12049/8925instacron:UNRNInstitucionalhttps://rid.unrn.edu.ar/jspui/Universidad públicaNo correspondehttps://rid.unrn.edu.ar/oai/snrdrid@unrn.edu.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:43692025-09-29 14:28:47.832RID-UNRN (UNRN) - Universidad Nacional de Río Negrofalse
dc.title.none.fl_str_mv Unspooling from the Center: Krapp´s Last Tape and Post-Dictatorship Argentina
title Unspooling from the Center: Krapp´s Last Tape and Post-Dictatorship Argentina
spellingShingle Unspooling from the Center: Krapp´s Last Tape and Post-Dictatorship Argentina
Nudler, Alicia Clara
Humanidades
Krapp´s Last Tape
Post-dictatorship theater
Argentina
Archives
Grupo Krapp
Luis Biasotto
Humanidades
title_short Unspooling from the Center: Krapp´s Last Tape and Post-Dictatorship Argentina
title_full Unspooling from the Center: Krapp´s Last Tape and Post-Dictatorship Argentina
title_fullStr Unspooling from the Center: Krapp´s Last Tape and Post-Dictatorship Argentina
title_full_unstemmed Unspooling from the Center: Krapp´s Last Tape and Post-Dictatorship Argentina
title_sort Unspooling from the Center: Krapp´s Last Tape and Post-Dictatorship Argentina
dc.creator.none.fl_str_mv Nudler, Alicia Clara
author Nudler, Alicia Clara
author_facet Nudler, Alicia Clara
author_role author
dc.subject.none.fl_str_mv Humanidades
Krapp´s Last Tape
Post-dictatorship theater
Argentina
Archives
Grupo Krapp
Luis Biasotto
Humanidades
topic Humanidades
Krapp´s Last Tape
Post-dictatorship theater
Argentina
Archives
Grupo Krapp
Luis Biasotto
Humanidades
dc.description.none.fl_txt_mv Fil: Nudler, Alicia Clara. Universidad Nacional de Río Negro. Río Negro, Argentina.
Paper presentado en el Samuel Beckett Working Group en la Conferencia Anual de la International Federation of Theater Research en Reykjavic, Islandia, junio 2022.
This paper will address Beckett´s 1958 play Krapp´s Last Tape, seeing it in the context of post-dictatorship theatre in Argentina. Critics discuss the significance of the long period in theatre following the end of the last dictatorship (1976-1983), up to the present. In wider terms this period is marked by the redefinition of the country as it struggles with the consequences of violent and oppressive right-wing rule. Argentinian theatre has worked in many different ways to process this historic horror, and to deal with the past in terms both of memory and absence. Critic Dubatti states that in this country the dead dwell in the consciousness of post-dictatorship spectators, and theatre and other artistic forms take it as their task to invoke them. In this work, I will look at specific stagings of Beckett´s Krapp´s Last Tape (1986, 2000 and 2016) in Argentina under this light. I argue that various themes in the play serve as powerful metaphors for the social, political and judicial processes taking place in the country in relation to the years of the state repression. These include the vital role of archives -like the archive of memories Krapp keeps- in negotiating presence and absence, marking the mutability of identity and the long-term effects of trauma, mourning and loss. Delving deeper into Argentinian theatre, I will refer to a performance company, formed in 1998, that named itself after Beckett´s character, Grupo Krapp. Looking at this group as a resonance of Krapp´s Last Tape, I will refer to three of their productions: Adonde van los muertos (Lado A) (Where deadmen go, Side A); Retrocedida Krapp (Reversing/Rewinding Krapp) and finally Réquiem: La última cinta del grupo Krapp (Requiem: The last tape of the group Krapp). This last production, premiered in October 2021, is a homage to one of the directors of the group who died from Covid-19, and takes several elements from Beckett´s play. My examination of the impact and continuing unspooling of Krapp’s Last Tape in Argentinian theatre allows me to bring together three conditions or awarenesses that function simultaneously today in this country: Krapp /post-Krapp; Argentina pre/post dictatorship; analogue/digital recording. The continuing relevance and contemporaneity of Beckett’s short play and its subsequent creative derivations are linked directly to the social memory of Argentinian audiences.
description Fil: Nudler, Alicia Clara. Universidad Nacional de Río Negro. Río Negro, Argentina.
publishDate 2022
dc.date.none.fl_str_mv 2022-06-26
dc.type.none.fl_str_mv info:eu-repo/semantics/conferenceObject
info:eu-repo/semantics/publishedVersion
http://purl.org/coar/resource_type/c_5794
info:ar-repo/semantics/documentoDeConferencia
format conferenceObject
status_str publishedVersion
dc.identifier.none.fl_str_mv http://rid.unrn.edu.ar/handle/20.500.12049/8925
url http://rid.unrn.edu.ar/handle/20.500.12049/8925
dc.language.none.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv https://iftr.org/conference
IFTR World Congress. Shifting Centers: In the middle of nowhere
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https://creativecommons.org/licenses/by-nc-sa/4.0/
eu_rights_str_mv openAccess
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