Feminism, politics and censorship in Ana Diosdado’s contemporary drama

Abstract

The first fase for the following research project arises from the need to delve into the field of dramaturgy created by women, and delve into issues that address the social, cultural, intimate, situations of inequity and marginalization from the textual creation of a female gaze, which is It moves away from the classic stereotypes of the female gender and representation linked to the currents of contemporary feminism in the textual construction of the renowned Argentine-Spanish playwright, actress, screenwriter, writer and theater director Ana Diosdado (1938-2015) And consider the following plays from the 1970s to 2005 and 2015: 1. Olvida los tambores (1970), 2. Usted también podrá disfrutar de ella (1973), 3. Los comuneros (1974), 4. Trescientos veinte uno y trescientos veinte dos (1991), 5. Decíamos Ayer (1997), 6. La imagen del espejo (1998), 7. La última Aventura (1999), 8. Harira (2005). And the analysis of the theme addressed by the theatrical texts, the construction of female characters and dialogues, the dramatic or post-dramatic line (the linear or non-linear and fragmentary progression), the relationship between space-time; the simultaneity of the spaces, the repetition of the scenes, the temporary leaps within its construction.