Abstract:This article examines Adiós, Ayacucho, an iconic one-actor play by theatre collective Grupo Cultural Yuyachkani, by focusing on the theatrical figure of Qolla, which is proposed here as the emblem of the relationship between liminality and carnival. Adiós, Ayacucho is the story of Alfonso Canepa, an Andean peasant leader who was tortured, partially dismembered, and disappeared by the Peruvian police under suspicion of terrorism in the early 1980s. Qolla, a well-known character from one of the most important fiestas in the Peruvian Andes, lends his body to Canepa so that he can re-member and recount his story on stage. Through a discussion of Jacques Rancière's ideas on spectatorship and dissensus, Ileana Diéguez's approach to communitas and liminality, and Bakhtin's analysis of laughter and carnival, the essay examines the play in the context of Yuyachkani's effort to (re)build communities of memory alongside the work of the Peruvian Truth and Reconciliation Commission. The role of Qolla in the Andean fiesta, discussed in detail, reveals a liminal and carnivalesque nature that frames the actor's performance on the political and theatrical stages.

中文翻译：

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利马纳尔达德，阿尼亚科斯（Ayacucho de Yuyachkani）社区和狂欢节

摘要：本文着眼于戏剧性人物库拉（Qolla）的戏剧人物，考察了剧院团体格鲁波文化（Grupo Cultural Yuyachkani）的标志性单演员戏剧《阿迪奥斯》（Ayacucho），在此将其作为象征性与狂欢节之间关系的象征。阿亚库乔（Ayacucho）的阿迪奥斯（Adiós）是安第斯农民领袖阿方索·卡内帕（Alfonso Canepa）的故事，他在1980年代初因涉嫌恐怖主义而受到秘鲁警察的酷刑，部分肢解和失踪。Qolla是秘鲁安第斯山脉最重要节日之一的著名人物，他的尸体借给Canepa，以便他可以在舞台上重新记忆和讲述自己的故事。通过讨论雅克·兰契尔（JacquesRancière）的观众观和持异议的思想，伊利亚娜·迪格斯（IleanaDiéguez）的社区化和禁忌主义方法以及巴赫金（Bakhtin）对笑声和狂欢节的分析，本文在Yuyachkani与秘鲁真相与和解委员会共同努力（重建）记忆社区的背景下考察了该剧。详细讨论了Qolla在安第斯节日中的作用，揭示了一种边缘和狂欢的性质，构成了演员在政治和戏剧舞台上的表演。