Abstract
This article explores examples of artistic practices in Peru during recent decades, including those of Yuyachkani and the Colectivo Sociedad Civil, among others. The creative activities studied in this essay transgress forms of traditional theatre in Latin America, which has been conditioned by intense and abrupt socio-cultural change. The performances and “situations” are theorized as liminal practices through which complex artistic, political and ethical considerations can be emphasized. Turner’s concept of the liminal entity is used as a metaphor for the in-between state of the artist-citizen who uses artistic strategies to intervene in the public sphere. (ID, Article in Spanish)All items © The Center of Latin American Studies and Caribbean Studies, The University of Kansas, Lawrence, Kansas 66045, U.S.A. Authors: If you prefer to remove your text(s) from this database please contact Dr. Stuart A. Day (day@ku.edu)
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