Memory as a resistance device

from the creative process of the spectacle The woman who walked in circles until the meeting with the public

Abstract

This article focuses her discussions around the process of creating the play The woman who walked in circles, produced by the Mayombe Theater Group. The dramaturgic work with the collective memory of Latin America by the prism of a woman unable to remember because of the limitations of the age is the argument of this play that went through a series of transformations during the rehearsals when assuming in the corpus of the text the aesthetic- political direction and the performance interventions of the actress. The tenuous line between fiction and history, between oblivion and bragging in the present context, composes the structure of the play structured from the silenced echoes extracted from the “official” rubble of history.  Along these lines, bringing memory as a device of resistance to oppressive regimes became an inevitable route within the montage, operating precisely on the border of the poetic with the micropolitics.