Abstract
Campo minado/ Minefield (2016) by Lola Arias brings to the stage three British and three Argentine veterans from the Malvinas/ Falklands War (1982), performing as themselves. Their re-enactments of the war and their lives thereafter trigger questions about the affective experience of their bodies on stage. While documentary theatre theory foregrounds a material understanding of the performing body – a mediating technology for documentary authenticity – this article explores how dramatherapy theory might provide additional vocabulary to conceptualize the emotional dimension of the veterans’ performance. In doing so, this analysis puts forward an understanding of authenticity as dependent on affective transformations rather than material evidence.
| Original language | English |
|---|---|
| Pages (from-to) | 1031 |
| Number of pages | 1046 |
| Journal | Bulletin of Hispanic Studies |
| Volume | 97 |
| Issue number | 10 |
| Publication status | Published - 2020 |