Los murmullos (The murmurs)

"Critical children” y parrhesia in contemporary Argentine theater

Abstract

I examine in this paper the irruption of the so-called “critical children” in contemporary argentine
theater, from the play Los murmullos (The Murmurs), by Luis Cano, directed by Emilio García Wehbi. I use this concept, following Daniel Mundo (2016), to refer to the theatrical works of the generations who were born during or after the dictatorial era or who have lived their childhood or adolescence at that time, and who are characterized by developing novel forms in the theater that addresses state terrorism. The notion of parrhesia also assumes here a key place, since it looks extensive and intensely realized in Los murmullos, both in the dramaturgy and in the staging. In this sense, this play is constituted as a paradigmatic example of the aesthetic and political
statement of the generation of “critical children”.