Eduardo Rovner’s ¿Una foto…? (Argentina, 1977) tells the superficially benign tale of a husband and wife who try to make their baby smile for a photograph. The play (dedicated, incidentally, to those who refused to smile) employs family as a metaphor for a nation forced into appearances of well-being through whatever means necessary, with the photograph serving as proof of that well-being. This study focuses on the photograph in ¿Una foto…? as a “site of memory” and argues that the photo that the characters attempt to take of their baby, the most innocent and vulnerable character on the stage, stands in for the outward appearances of a stable and content nation, whatever the cost of creating that appearance. Although the photograph represents familial stability and happiness, the process, as a “site of memory” played out on stage, reveals a more sinister truth behind the arrival at the final product.

中文翻译：

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摄影作品：在Eduardo Rovner的A相片中谈判记忆的地点...？

爱德华多·罗夫纳（Eduardo Rovner）的照片...？（阿根廷，1977年）讲述了一个夫妻试图使自己的婴儿微笑拍照的表面上良性的故事。该剧（偶然地是献给那些拒绝微笑的人）用家庭作为比喻，指一个国家通过一切必要手段被迫进入幸福状态，而照片则证明了这种幸福。这项研究的重点是“ Una foto…？”中的照片。作为“记忆的场所”，并认为角色试图为自己的婴儿拍摄的照片（舞台上最无辜和最脆弱的角色）代表着一个稳定而满足的国家的外在形象，无论其创造成本如何那个样子。尽管这张照片代表了家庭的稳定与幸福，但这个过程作为舞台上的“记忆点”，