Both Lucía Laragione and Pedro Sedlinsky in their respective Criaturas del aire and El informe del Dr. Krupp stage the encounter of the European “scientist/intellectual” with the American “primitive/savage.” Employing postcolonial theory, this articles analyzes how the European intellectual invades American space (implicitly “primitive” or “savage,” since it is defined as “not European”) while reconstructing the European space. In both cases, the Europeanized space is an interior space, while the American space is depicted as exterior in an underscoring of the perceived binary divisions between civilization and nature, mind and body, intellectual and primitive. Nonetheless, and in what the author reads as fundamental to the playwrights’ messages, although the “civilized” space of the European intellectual is the focus of the action in both plays, the “primitive,” American space is always visibly present and threatens to overflow its boundaries and spill into the “civilized,” European space.

中文翻译：

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有限空间：在两部阿根廷戏剧中，欧洲的“知识分子”与美国的“野蛮人”相遇

LucíaLaragione和Pedro Sedlinsky分别在各自的Air Creatures和Krupp's Report中扮演欧洲“科学家/知识分子”与美国“原始人/野蛮人”的相遇。本文采用后殖民理论，分析了欧洲知识分子在重建欧洲空间时如何侵入美国空间（隐含为“原始”或“野蛮”，因为它被定义为“非欧洲”）。在这两种情况下，欧洲化空间都是内部空间，而美洲空间则被描绘为外部空间，强调了文明与自然，思想与身体，知识与原始之间的二元划分。尽管如此，作者认为这是剧作家信息的基础，尽管欧洲知识分子的“文明”空间是这两部剧中动作的重点，