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Additional info for Art and the Performance of Memory: Sounds and Gestures of Recollection
22 RESONATING TESTIMONIES Other texts, other plays, making the play our own. Reading against the realities of Latin America and the realities of Canada’s complicity in violence in other countries. 17 So, in the performance of La maestra, our quest was to weave an exploration of how a transformative drama process might help participants change the way they examine different, unknown, or absent other spaces within their own world, selves, or community. Rather than treating these spaces as objects to be grasped, or as something to understand only in light of our own experiences, we endeavored to experience these spaces of in-between.
Then the sergeant and the soldiers came into my room and, one after the other, they raped me. Then I wouldn’t eat or drink again, and so I died, little by little. Little by little. WARREN: In the middle of our rehearsals there is on the newswire on cable TV one Sunday morning the summary of a Toronto newspaper article . . I go to the library and ﬁnd it. It becomes part of what Alejandra calls her “Brechtian distancing moment” that used theatrical distancing to bring the text of Buenaventura written in 1960s Colombia home to 1990s Canada, home to this rehearsal hall; this space of death in the space of living.
20 February 1997, a rehearsal room in the “Hut,” UBC, Vancouver. ALEJANDRA: Darkness increases outside the windows. Inside, I watch in silence. What unfolds in front of my eyes is in no way predictable but, at the same time, is an experience already framed by many hours of analysis and rehearsals. I am sitting on the edge of the stage, in the line which divides reality from ﬁction. The actors, once they get ready, perform Buenaventura’s La maestra. Kesten, Warren, Luisa, and Rita play the chorus in this scene.