ABSTRACT

This article examines the treatment of the figure of the ‘Indian’ in the Bolivian theater of the 1920s. It opens up with a presentation of the theatrical work of Bolivia’s generación del 21. The selected corpus is then read as a set of texts that discuss the intersections between the notions of the ‘Bolivian nation’ and ‘indigeneity,’ two key elements in the intellectual debates of early 20^th century Bolivia. It attends to the connection between these plays and Bolivian indigenismo and inter-American indigenismo more broadly, thereby highlighting how the ‘Indian’ was understood to be a contemporary subject constrained by specific material circumstances. The article considers the plays Supay marca (1928), by Zacarías Monje Ortiz, which premiered in 1920; two plays by Antonio Díaz Villamil: La voz de la quena (1988), which premiered in 1922 and La Rosita ([1928] 2001), which premiered in 1925; and Los lobos del Altiplano (1930), by Federico Ávila.

摘要

本文考察了 1920 年代玻利维亚剧院对“印第安人”形象的处理。它以介绍玻利维亚 21 世代的戏剧作品开篇。然后将选定的语料库作为一组文本来阅读，这些文本讨论了“玻利维亚民族”和“土著”概念之间的交集，这是该书的两个关键要素20 世纪初的知识分子^辩论世纪玻利维亚。它更广泛地关注这些戏剧与玻利维亚本土主义和美洲本土主义之间的联系，从而强调“印第安人”如何被理解为受特定物质环境限制的当代主题。这篇文章考虑了 Zacarías Monje Ortiz 于 1920 年首演的戏剧 Supay marca (1928)；Antonio Díaz Villamil 的两部戏剧：La voz de la quena (1988)，于 1922 年首演，以及 La Rosita ([1928] 2001)，于 1925 年首演；和 Los lobos del Altiplano (1930)，费德里科·阿维拉 (Federico Ávila)。