The Threefold Topography of Performance: Drawing, Action, and Video in Maria Evelia Marmolejo's Anónimo 4

Juan Carlos Guerrero-Hernández

doi:10.1162/dram_a_00968

The Threefold Topography of Performance: Drawing, Action, and Video in Maria Evelia Marmolejo's Anónimo 4

TDR/The Drama Review ◽

10.1162/dram_a_00968 ◽

2020 ◽

Vol 64 (4) ◽

pp. 129-146

Author(s):

Juan Carlos Guerrero-Hernández

Keyword(s):

Latin America ◽

Performance Artists ◽

Video Performance

María Evelia Marmolejo is one of the most important performance artists in the 1980s in Latin America. Her video performance Anónimo 4 (1982) outlines a threefold topography that accounts for performance in conceptual, bodily, and communicative terms, and asks viewers to understand video performance as a virtual aspect of communication and collaboration between performing embodied subjects and performing images and sounds.

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The Genesis and Internal Dynamics of El Salvador's People's Revolutionary Army, 1970–1976

Behavioral and Brain Sciences ◽

10.1017/s0140525x13009850 ◽

2014 ◽

Vol 38 (01) ◽

pp. 102-129

Author(s):

ALBERTO MARTÍN ÁLVAREZ ◽

EUDALD CORTINA ORERO

Keyword(s):

Latin America ◽

El Salvador ◽

Early Years ◽

Left Wing ◽

Internal Dynamics ◽

Internal Coherence ◽

The 1960S

AbstractUsing interviews with former militants and previously unpublished documents, this article traces the genesis and internal dynamics of the Ejército Revolucionario del Pueblo (People's Revolutionary Army, ERP) in El Salvador during the early years of its existence (1970–6). This period was marked by the inability of the ERP to maintain internal coherence or any consensus on revolutionary strategy, which led to a series of splits and internal fights over control of the organisation. The evidence marshalled in this case study sheds new light on the origins of the armed Salvadorean Left and thus contributes to a wider understanding of the processes of formation and internal dynamics of armed left-wing groups that emerged from the 1960s onwards in Latin America.

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