Abstract:This essay approaches the political and historical dimensions of three contemporary experiences of documentary theatre: one from Chile—Ñi pu tremen. Mis antepasados—and the other two from Argentina—Archivo White and Las personas. All three of them brought to the stage not professional actors but rather members of a certain community: respectively, women of mapuche origin, neighbors of the city of Ingeniero White, and workers of the Teatro San Martín of Buenos Aires. After an initial description of these projects, the essay examines in each of them the relation between art and politics on the basis of theories proposed by Jacques Rancière and discusses the possibility of considering these practices as a particular historiographical form enriched by characteristics specific to theatre.

中文翻译：

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当代纪录片史上的历史与历史：阿根廷和智利的壮志凌云

摘要：本文探讨了纪录片剧院的三种当代经验的政治和历史维度：一种来自智利的Ñipu tremen。Mis antepasados（以及阿根廷的另外两个）Archivo White和Las personas。他们三人的上场不是专业演员，而是某个社区的成员：分别是马普切人的女性，英吉尼尔罗·怀特市的邻居和布宜诺斯艾利斯圣马丁剧院的工人。在对这些项目进行了初步描述之后，本文根据雅克·兰契尔（JacquesRancière）提出的理论，对每个项目中的艺术与政治之间的关系进行了研究，并讨论了将这些实践视为一种特殊的史学形式的可能性，这种史学形式丰富了剧院的特色。