Theater and the post-autonomy of condition of the arts

Abstract

The purpose of this manuscript is to discuss on the systems of theatrical production which, based on assumptions of democracy and dissidence from cultural hegemonic and industrial models of artistic productions, are often defined as non-commercial. This term and other nomenclatures that seek to account for the mentioned theatrical phenomenon will be discussed in the light of the concept of post-autonomy of art, as proposed by the Argentinean anthropologist Nestor Garcia Canclini. Here we aim to relativize the understanding that it is possible to generate artistic fabrications that are, in fact, independent to marketing models. The methodology adopted was a literature review on the subject, as well as the exploration of an autoethnographic perspective linked to my own experiences as an actress and producer. Having as its object of study Latin American theatrical practices, it is argued that, even though it is understood that there is a mandatory relationship between theatrical production, economy, politics and market, such an understanding, rather than making the defense of a dissident theater unfeasible, is fundamental for effective and conscious realization of scenic productions critical to the status quo and capable of building hopes for other worlds.

Keywords: Cultural Policies; State; actress-producer; minor theater.