La dramaturgia femenina hispanoamericana en Europa: cartografía de una topografía nómada, Maritza Núñez Bejarano

Abstract

In this work I will analyze the poetics of flow (Lladó Ortega, 2018) or the ‘dramaturgy of transit’ understood as that which unites dramaturgy and the phenomenon of migration. In particular, I will try to understand how the migrant subject, through a medium such as theatre, has reacted to the phenomenon that has changed his life. I am interested in showing the dynamic established by plays such as Sueños de una tarde dominical (1999-2000) written by a Peruvian playwright residing in Finland, Maritza Núñez, who writes in Spanish and Finnish. A work that stages all kinds of displacements, which complement, duplicate, and sometimes collide with each other to (un)draw the contours of a fluctuating sexual, gender, racial, national, and cultural identity. The aesthetics of transit developed in this way opens up new spaces for representation and new cartographies of female dramaturgy, since it is not a completely Spanish-American or completely European product, but rather a hybrid aesthetic. In this sense, the playwright’s work appears not only as an effort to make visible practices and new hybrid, queer, Other identities in the European context, but also as a promise of an epistemological turn in a much broader context. For this purpose, following the postulates of genetic criticism, I focus on the study of both the writing process and the dramatic and spectacular texts of the work Sueños de una tarde dominical (2000). At the end, as a conclusion, I explain the characteristics of this new dramaturgy, its essential features: internationality, supranationality, decolonization and hybridity. A dramaturgy that opens up new possibilities of pronouncement to certain emerging female constructs, nomads and, moreover, stateless.