An Argentine Tradition
This chapter argues that Antigone is Argentina's ‘national play’. Antigona has been appropriated ‘at crucial foundational moments in which violence sealed tragic and unstable pacts of national unification and women played key roles, [and has been] summoned to build or to sacrifice for the nation or moved to resist power’. The chapter analyses Leopoldo Marechal's 1951 Antígona Vélez, Alberto de Zavalía's 1959 El Limite (The Limit), Griselda Gambaro's 1986 Antigona Furiosa, and Jorge Huertas 2002 Antigonas, Linaje de Hembrás (Antigones, Female Lineage), arguing that the central question of all these productions is: will Argentina continue to sacrifice its women and exclude others and promulgate internal violence and terror in order to build a modern nation?
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