Abstract:Creative imagination is a central concept in critical philosophy which establishes the framing faculty of the subject in the middle of the cognitive process. Linking the internal and the external, imagination is also key for dramatic acting methodologies. This mediation has been alternatively interpreted in Western tradition under a reversible perspective, giving priority to either the process that goes from the outside inwards (aesthesis) or just the opposite (poiesis). Going beyond dialectics, this article w… Show more
The article scrutinizes the issue of inter-American destiny in the dramatic world of the Argentinian-born Guillermo Verdecchia (b. 1962), whose work was awarded with the prestigious Governor General’s Literary Award (est. 1937) in Canada. Verdecchia deals with a subjective cultural history that shapes various destinies through an inter-American space and given time periods. The thespian plot in his Fronteras Americanas (1993) is an idiosyncratic story that does not count communal dates or anniversaries but, instead, focuses on the lived experience and the destiny of the individual. Verdecchia’s play has a peculiar political relevance in being conceived as a subjective inter-American history lesson on the issue of Latin diaspora in North America and, as such, presents an idiosyncratic history of a Canadian Latinx, created as a monologue reminding one of an oral storytelling of a destiny that is bound in the history web of the Americas.
The article scrutinizes the issue of inter-American destiny in the dramatic world of the Argentinian-born Guillermo Verdecchia (b. 1962), whose work was awarded with the prestigious Governor General’s Literary Award (est. 1937) in Canada. Verdecchia deals with a subjective cultural history that shapes various destinies through an inter-American space and given time periods. The thespian plot in his Fronteras Americanas (1993) is an idiosyncratic story that does not count communal dates or anniversaries but, instead, focuses on the lived experience and the destiny of the individual. Verdecchia’s play has a peculiar political relevance in being conceived as a subjective inter-American history lesson on the issue of Latin diaspora in North America and, as such, presents an idiosyncratic history of a Canadian Latinx, created as a monologue reminding one of an oral storytelling of a destiny that is bound in the history web of the Americas.
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