Abstract:

This essay explores the problematics of contemporary political performance through the plays of Guillermo Calderón. In particular, it seeks to account for the ways that Calderón’s theatrical aesthetics emerge from his negotiations with the material circumstances and institutional supports that condition his work. Tracing the history of the theatrical field and cultural policy in Chile, the essay examines the personal and structural pressures on Calderón and other Chilean artists to produce particular kinds of political artworks—pressures that contribute to a kind of political imperative. By reading Calderón’s dramaturgy both across his body of work and through the exemplary case of his 2015 play Mateluna, the essay explores the ways that dramaturgy emerges from negotiations with the political imperative. This analysis points to a processual and paradoxical dramaturgy, in which Calderón’s plays—driven by an ethical commitment to political resistance and responsive to the demands of an art market that positions political theatre as a saleable brand—re-problematize their political engagements with each new staging.

摘要：

本文通过吉列尔莫·卡尔德龙 (Guillermo Calderón) 的戏剧探讨当代政治表演的问题。特别是，它试图解释卡尔德龙的戏剧美学是如何从他与物质环境和制度支持的谈判中产生的，这些环境决定了他的工作。这篇文章追溯了智利的戏剧领域和文化政策的历史，考察了卡尔德龙和其他智利艺术家在创作特定类型的政治艺术作品时所面临的个人和结构性压力——这些压力促成了某种政治要求。通过阅读卡尔德龙的作品和他 2015 年戏剧《马特鲁娜》的典型案例，这篇文章探讨了戏剧艺术从与政治要求的谈判中出现的方式。这种分析指向了一种过程性和自相矛盾的戏剧结构，其中卡尔德隆的戏剧——由对政治抵抗的道德承诺驱动，并响应将政治剧院定位为可销售品牌的艺术市场的需求——重新质疑他们的政治参与与每一个新的登台。