ABSTRACT The recovery of the legacy of the Spanish Republican exile of 1939 is having a noteworthy impact on current society. This impact affects both Spain and the countries that hosted the exiles during the Franco dictatorship. Taking into account the emergence of exile memory in the Argentinian stage, this article argues that we are facing a case of transcultural memory, a memory that moves beyond national, social, ethnic, and religious borders (Astrid Erll). After giving some examples of transcultural memory plays, the article focuses on Desde la mecedora. República, guerra y exilio (2017), by the Argentinian writer Elena Boledi. This play is based on Visto al pasar. República, guerra y exilio (2002), the memoirs of María del Carmen García Antón (Madrid, 1916 — Buenos Aires, 2007). Carmen Antón was an actress in La Barraca, the university theatre company led by Federico García Lorca and Eduardo Ugarte, and played the role of Mariana Pineda during the Civil War. Boledi’s play recreates characters and symbols that represent the fight for freedom, such as Federico García Lorca, Mariana Pineda, and Guernica, by Picasso, analysed here as examples of forms of transcultural memory.

中文翻译：

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Memoria transculture, exilio Republicano y Teatro: Visto al pasar (2002), de Carmen Antón, actriz de La Barraca, y Desde la mecedora (2017), de Elena Boledi

摘要 1939 年西班牙共和党流亡遗产的恢复对当前社会产生了显着影响。这种影响同时影响了西班牙和佛朗哥独裁统治期间收容流亡者的国家。考虑到流亡记忆在阿根廷阶段的出现，本文认为我们正面临一个跨文化记忆的案例，一种超越国家、社会、种族和宗教边界的记忆（Astrid Erll）。在给出了一些跨文化记忆戏剧的例子之后，本文重点介绍了 Desde la mecedora。República, guerra y exilio (2017)，由阿根廷作家 Elena Boledi 撰写。这部剧是根据 Visto al pasar 改编的。República, guerra y exilio (2002)，玛丽亚·德尔·卡门·加西亚·安东的回忆录（马德里，1916 年 - 布宜诺斯艾利斯，2007 年）。卡门·安东 (Carmen Antón) 是拉巴拉卡 (La Barraca) 的女演员，由 Federico García Lorca 和 Eduardo Ugarte 领导的大学剧院公司，在内战期间扮演 Mariana Pineda 的角色。Boledi 的戏剧再现了代表为自由而战的人物和符号，例如毕加索的 Federico García Lorca、Mariana Pineda 和 Guernica，在这里作为跨文化记忆形式的例子进行了分析。