De errancias y herencias: la posmemoria en el teatro concentracionario español

On Errancies and Inheritances: Postmemory in Spanish Concentrationary Theatre

Abstract

Las producciones teatrales de temática concentracionaria en España permiten plantear una lectura crítica del concepto de posmemoria acuñado por Marianne Hirsch. ¿Cómo puede gestarse una herencia si la transmisión ha sido nula (por omitida) o defectuosa (por manipulada)? Este artículo plantea las consecuencias de la errancia memorial en el teatro concentracionario y la necesidad de recuperar los eslabones perdidos entre las generaciones de los autores testimoniales y los legatarios. 

As a result of Francoist politics and the reconciliation policy in the years of transition from the Franco dictatorship to democracy, a discussion about cultures of remembrance and the treatment of the problem of the recent past in literature emerged quite late. In the theater, it was not until the beginning of the 21^st century that coming to terms with the past became a booming topic. From the theater of the eyewitnesses to the recent theater of the third generation, a distinct development is discernable mainly in the ways in which the traumatic experiences of the recent past have been constructed. The aim of the study at hand is to provide an overview of this development from the theater of remembrance to the post-memorial theater and thereby identifying similarities and differences among the plays at different stages of their development.