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The Treatment of Scenic Objects in Tucuman's Contemporary Theatre
Nerina Dip [BIO]
In the last two decades of the 20th century, audiences in Tucumán interested the emergence of the scenic object in the local theatrical production. The causes for this novelty are various; among then, there is the necessity for raising and giving a certain hierarchy to objects so that they and the other scenic signs are on equal grounds. This implies becoming aware of the material world and integrating bodies and objects towards a holistic concept of play. This new idea involved changes in the production: actors, directors and technicians see how the objects start to appear in their speeches, and they understand that it is necessary to adjust the technical tools in order to make the work of art stronger, and to give the object due value. In consequence, the actor moved away from the centre of the stage to allow the object to take the lead. Then, he had to learn to work on his absence rather than on his presence. The aim of this work is to reflect on how several groups in Tucumán, Argentina, e.g. Caverna (Máximo Gómez), Manojo de calles (Verónica Pérez Luna) y La Baulera (Jorge Gutiérrez), have experienced this change in their productions.