Transcultural Study in Carmen Aguirre's Select Plays
Explore the transcultural themes in Carmen Aguirre's plays, focusing on exile, identity, and the expression of hidden feelings through art. Delve into the impact of transcultural studies, highlighting the intricate layers of cultural representation in literature. Discover the transformative power of theatre in portraying complex emotions and societal issues.
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Presentation Transcript
SEEKING HOME IN EXILE: A TRANSCULTURAL STUDY IN CARMEN AGUIRRE'S SELECTED PLAYS By Milad Samir Aziz
- Art represented by theatre is one of the famous means by which a writer conveys these problematic areas and they try to give voice to those hidden feelings that are oppressed deep in the soul. - The minute these row feelings are out the soul is a freed and agony leaves to give the chance to stability and release all these negative energies out it is a through cultural studies that one can realize that space in the soul that is pictured through literature. - Cultural studies are considered a potential mine continuously attract the attention of critics and scholars. It is such a wide scope that no one study can encompass all its multiple layers. They are usually surveyed with other literary theories scantly.
- This may be attributed to the newness and great number of ethnic and Cultural writers. The emergence of writers and works of art is no longer identifiable with only one culture, due to the transnational mobility and contemporary globalization. - Transcultural studies seem to be endowed with the kind of dynamic and flexible nature which is needed with the fast changes in literature and cultures of our contemporary age. - This transformation possible with the works and life of the Chilean-Canadian artist Carmen Aguirre. Latino Canadian literature and drama, which often explores the political/historical events that led to the dislocation and exile of so many Latin Americans. Some stories in the plays implied scenes of torture, pain and nostalgia.
- This transformation possible with the works and life of the Chilean-Canadian artist Carmen Aguirre. Latino Canadian literature and drama, which often explores the political/ historical events that led to the dislocation and exile of so many Latin Americans. Some stories in the plays implied scenes of torture, pain and nostalgia. - The Chilean-Canadian actor, director, and playwright, Carmen Aguirre (1967- ) - The award winning writer, Aguirre has molded her career very close to the idea of the artist as a voice against systems of oppression; a school of theater that was founded by Augusto Boal called the Theatre of the Oppressed.
- Refugee Hotel 2010 based on Aguirre's experiences in exile and focuses on some Chilean family refugees who escape their home country to Vancouver. While being housed in a hotel for refugees, the family is soon joined by other people fleeing Chile. A Canadian sympathizer helps them and ultimately grows to love the Chilean placed in his care. - The horrors that the residents endured during the coup are revealed as the family and other exiled people adapt to their new life in Canada.The hotel represents a neutral space where culture clash overlaps and opposes in the form of comedy and frustration.
"It takes courage to remember, it takes courage to forget, it takes a hero to do both"(18) (The Refugee Hotel) - The residents' coping mechanisms for dealing with the ''mental anguish brought on by displacement, torture, violence, and the loss of their home. - The play also implies that the experience of the Chilean refugees is representative of a broader narrative of ''exile and marginality that unites many Canadians'' (Ramirez).
The conservation of cultural traditions also proves to be of great value in the process of remembering and healing. Dance is a recurring theme, especially the lone cueca dancer who is only seen by a few characters. - Traditional folk dance cueca is often seen as a form of courtship ritual. The huaso, Chile's equivalent to the Argentine gaucho or the American cowboy, is closely associated with the dance's rural roots. - In the late 1970s, Pinochet tried to make the cueca the national dance of Chile by including it in military parades. At the same time, he banned and punished other forms of popular music, such as the Andean flute music that had been a major influence on the leftist Nueva Canci n movement.
At the beginning of the play, even La Flaca, Fat Jorge, and their two children have trouble communicating with one another. The others appear just as bewildered as they are in a world they can barely navigate, where they know little about their predicament. -As the play progresses, some of the groups are able to slowly establish or re-establish emotional connections of love and trust with each other due to the similarity of their experiences and the shared cultural memories of Chile. Isabel, whom the other characters have taken to calling "Calladita" (which means "little silent one"), regains her ability to speak near the play's conclusion, which may be attributed to the trust she develops with the protagonists. - The refugees begin to mend their wounds as they bond over shared experiences, Chilean music, and dance.
Peace to your mind Love to your heart Thanks for listening.
