(DOWNLOAD) "Vamping the Argentine Family: Sex and Intertexts in Gambaro's Nosferatu" by Chasqui " eBook PDF Kindle ePub Free
eBook details
- Title: Vamping the Argentine Family: Sex and Intertexts in Gambaro's Nosferatu
- Author : Chasqui
- Release Date : January 01, 2010
- Genre: Language Arts & Disciplines,Books,Professional & Technical,Education,
- Pages : * pages
- Size : 110 KB
Description
Griselda Gambaro's one-act play Nosferatu, written in 1970 and performed in 1985, is one of the numerous derivations (fictional, filmic and dramatic) that exist of Dracula's life. (1) Vlad the Impaler, the historical figure used as the basis for the fictional character Dracula in the 1897 novel by Bram Stoker, is also known as Nosferatu from the 1922 German silent film Nosferatu, a Symphony of Horror, directed by EW. Murnau. (2) Upon learning of the events of the real-life Dracula, it is easy to be struck by the affinity between those events in fifteenth, seventeenth, and twentieth-century Romania and similar episodes of tortured and disappeared bodies in the late twentieth century in Argentina which reached their height during the various ultra conservative military dictatorships which occurred during 1966-73 and from 1976-83. (3) As Andres Avellaneda suggests, the first of the dictatorships (1966-1973) broke the public's optimism and confidence in their ability to modify the nation's course through intellectual participation in its culture. However, as Avellaneda has observed, the second dictatorship (1976-1983) brought with it unimaginably extreme violence beginning in 1974 after the fall of Peronism in Argentina. (4) Although these dictatorships were distinct, as David William Foster contends, "the entire period between 1966 and 1983 can be seen as a single cycle in Argentine social history" (Violence in Argentine Literature 3). (5) Furthermore, if one contextualizes the violence of authoritarianism on a broader spectrum in Argentina, the notion of vampires and their conflation with despotic or unjust rule can be traced to the nineteenth-century leader Juan Manual de Rosas (in power from 1829-83 and 1835-52). This intertextual overlapping of stories (both written and filmic), geographies, and time periods is crucial for understanding Gambaro's scathing portrayal of the growing violence within the Argentine nation of the 1970s seen in the theatrical family of vampires in her version of Nosferatu, later published in 1983 by Girol. (6) The play's delayed premiere in 1985, in Buenos Aires at the Centro Cultural General San Martin under the direction of Malena Lasala, reinforced the public's need to examine and understand the nation's bi-polar past (democracy v. authoritarianism) during the period of redemocratization. (7) As Claire Louise Taylor reminds us, "[t]he monster is both a creation of the dominant society and the yardstick against which it measures itself as 'normal'" (328). Thus, the vampires in Gambaro's Nosferatu sound a warning for growing abuses in 1970, but later function as a tool for calibrating "normalcy" in 1985.
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