Ni muerto ni vivo: ¿máquina cibernética o idiota? La cuestión del Autor y de la teatralidad como máquina simbólica capitalista en <i>Anónimo metateatral </i>de Pablo Gigena y en <i>La máquina idiota </i> de Ricardo Bartís

Abstract

This essay, written in commemoration of the 101 anniversary of Freud's Totem and Taboo, reflects on a segment of the Argentinean theater production in mid-2014, in which some issues seem to converge, such as father figure / author, parricide, the conspiracy of the children and anarchism, from re-inscriptions of the past, the figure and the role of young people, and the moral transcendence related to the their parents’ guilt (and fault) and their legacy. Although this essay focuses on the analysis of Anónimo metateatral by Pablo Gigena—particularly in its treatment of dramatic and mise-en-scène of the theatricality of theater as a perverse structure—and compares it with La máquina idiota by Ricardo Bartis, its main concern is an approach to the ways in which artists question theatricality in a permissive and global society where the market captures and manipulates the desire to incorporate it into a cultural machine that promises unlimited jouissance.