Visibility Devices in the Theatrical Proposals of the Groups Kamar, Ob Caenum and Los Toritos

Abstract

Many theatrical practices call into question the traditional logic of representation. By virtue of this, we can analyze that the various visibility devices they use tend to produce what, in Rancière's terms, is called a distribution of the sensible. Starting from certain proposals of the philosopher, we can consider that works of art in general establish a cut over the material and symbolic territory, establishing new relationships of space and time and of what can be shown. This gives them a clearly political character, since they produce a redistribution of the common. In this sense, art would come to function as the device that makes these visibilities possible. In this paper, we are interested in this problem in relation to the aesthetic proposals of three theatrical groups: Kamar (La Rioja), Ob-caenum (San Juan) and Los Toritos (Mendoza). The different poetics of each one contribute to the reflection on theatricality as a visibility device in ways not adjusted to the norm of mimesis and of redistribution of actor-spectator relations, proper of the theatrical event.