Abstract:

Ya nadie recuerda a Fréderic Chopin (1982) by Roberto Cossa is part of a set of works in which the past functions as a burden that paralyzes the characters or as a place in which to escape the present. This set of pieces, which we consider under the label “unproductive nostalgia,” are presented in an introductory section that offers a complete map of Cossa’s works on memory. The second part of the article analyzes Ya nadie recuerda a Fréderic Chopin, focusing on the theatrical procedures used to boost on stage the conscience of the protagonist, such as the polychrome of scenic time, the insertion of scenes from the past, and the intense poetic atmosphere that generates the staging of nostalgia. Finally, we underscore the ultimate dramatic twist, in which the author makes evident his corrosive criticism of the middle class of Buenos Aires within the dictatorial context in which the piece was written and premiered.

摘要：

罗伯托·科萨 (Roberto Cossa) 的《Ya nadie recuerda a Fréderic Chopin》（1982 年）是一组作品的一部分，在这些作品中，过去充当了使人物瘫痪的负担或逃避现在的场所。我们在“非生产性怀旧”标签下考虑的这组作品在介绍部分中介绍，该部分提供了 Cossa 关于记忆的作品的完整地图。文章的第二部分分析了Ya nadie recuerda a Fréderic Chopin，着重于舞台上用来提升主角良心的戏剧程序，例如场景时间的多彩，过去的场景的插入，以及产生怀旧情绪的强烈诗意氛围。最后，我们强调最终的戏剧性转折，在该曲折中，作者在该作品撰写和首映的独裁背景下对布宜诺斯艾利斯中产阶级进行了腐蚀性批评。