In the play El ano en que naci by the Argentine Lola Arias, eleven performers born during the Chilean dictatorship (1973-1990) reconstruct events from that specific historical period and work through the personal impact of those events before the audience’s eyes. Nonetheless, as Marvin Carlson reminds us in The Haunted Stage: The Theater as Memory Machine there is a spectral character in the representation which not only helps audiences connect with the performance but can also alter its message. Supported by Carlson’s theory, in this essay I examine the many types of ghosts that inhabit El ano en que naci, to show the ways in which this “haunted stage,” opens this performance beyond the personal and the national. My analysis begins by examining how the spectra appear in the different staging choices of the director, since her style evokes her other productions, specifically Mi vida despues. Second, I analyze how these spectral elements are perceived in the eleven performers and in the personal objects – and their symbolism – with which they tell their private memories about the events of the dictatorship. Ghosts surround both the actors and the props that are manipulated on the stage. How do these mark the characters and in what ways do they divide or unite them? Finally, I examine how this performance is used as a tool to question the relationship between personal memories –with their multiple manifestations and interpretations that are built by reconstructing and obtaining second-hand information– and collective memory, since the play is about a major past event known at some level by all: both Chileans who lived through the dictatorship and subsequent generations who suffered the consequences a posteriori. I argue that the performance’s ghosting highlights a tension with the personal and the collective, as well as between the national and the global in order to solidify and question the Chilean story and highlight its universality.

中文翻译：

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我出生的那年，回忆的剧场及其幽灵

在阿根廷的萝拉·阿里亚斯（Lola Arias）的戏剧《 El ano en que naci》中，智利独裁时期（1973-1990年）出生的11位表演者重塑了那个特定历史时期的事件，并通过这些事件对观众的个人影响进行工作。尽管如此，正如Marvin Carlson在《闹鬼的舞台：作为记忆的剧院的舞台》中提醒我们的那样，在表示中有一个频谱特征，不仅可以帮助观众与表演联系起来，还可以改变其信息。在卡尔森理论的支持下，在本文中，我考察了我出生的那年居住的多种类型的幽灵，以展示这种“闹鬼的舞台”如何开启这种超越个人和国家的表演的方式。我的分析从检查频谱在导演的不同阶段选择中如何出现开始，因为她的风格唤起了她的其他作品，特别是我的后世。其次，我分析了在十一位表演者和个人物品中如何感知这些光谱元素以及它们的象征意义，它们将他们的独裁事件告诉了他们的私人记忆。鬼魂包围了舞台上被操纵的演员和道具。这些如何标记字符，以及它们以什么方式划分或结合它们？最后，我考察了这种表演如何被用作质疑个人记忆（通过重建和获取二手信息而建立的多种表现形式和解释）与集体记忆之间的关系的工具，因为该剧是关于过去的一个重大事件。在某种程度上，所有人都知道的事件：独裁统治的智利人和后代都遭受了后遗症。我认为演出的重影凸显了个人与集体之间以及国家与全球之间的紧张关系，以巩固和质疑智利的故事并突出其普遍性。