Collections > Electronic Theses and Dissertations > La familia en el teatro limeño: la alegoría de la nación de entre milenios
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It is universally acknowledged that the family is the basis of society, and that its traditional structure is patriarchal. In this dissertation I study theatrical representations of the modern Peruvian family as allegorical depictions of the sociopolitical situation of the country at the end of the twentieth and beginning of the twenty-first centuries. I focus my examination of broken families as an allegory of the instability in Peru through the analysis of seven plays by Limeño playwrights. Chapter One delineates the violent historical background of the years immediately preceding the time period on which I focus, followed by a detailed analysis of Los del "4" (1968), by Gregor Díaz. His depiction of a family torn apart by financial constraints and a lack of communication represents a precursor of the family allegories written in later years. Chapter Two examines two innovative plays that use television as a reflection of the realities of contemporary Peru. Con guitarra y sin cajón (2001) by Maritza Kirchhausen and Historietas (1999), by Paco Caparó, stress the need to focus on creating opportunities for Peruvian youth. Chapter Three looks at the impact that a father's abandonment has on his child as an allegory of the lack of effective political and social structure. Vladimir (1994), by Alfonso Santistevan and El día de la luna (1996), by Eduardo Adrianzén highlight the negative effect of this absence on the ability of young people to make positive life choices. My last chapter looks at two feminist plays, La madre (1997), by Sara Joffré and Lucía (2001), by Claudia Besaccia. These playwrights use the representation of private spaces to make their voices heard publicly. While Peruvian society tends to silence women by expecting their fulfillment of stereotypical roles, these plays demonstrate the necessity of allowing women to be heard in the political, social and family arenas. Limeño playwrights frequently allegorize the continuing instability in Peru through the dramatic staging of difficult familial situations. The effectiveness of this approach is due to the universality of the subject of family and its central role in the development of society.