Notes
Caught in the Spectacle
1
The production of
Paso de doswas
based on Pavlovsky's 1989 script,
Voces
(Voices), although it
had undergone considerable change due to the year and a half of rehearsal with director Laura
Yusem and the addition of another actor, Stella Galazzi, who played She's voice. The quotes
that I cite (and translate) from
Voces,
however, were the words used in the play.
Throughout this book, I will give the Spanish title of all works first, then the translation in
parentheses. If the work has been translated and published in English, I will also underline the
English title. I will quote from the English translation whenever possible. When translations
are not available, I will translate the sections myself.
2
I use "pornography" in the most general sense to refer not so much to content (the female's
exposed body) as to the structural relationship of domination in which (generally) the
woman-object is nothing but a victim to be violently exposed/ raped by the aggressive subject
for his enjoyment and the pleasure of a paying audience. What Susanne Kappeler writes in
The
Pornography of Representation
sounds strikingly like what I describe in
Paso de dos:
"The so-
called female point of view is a male construction of the passive victim of his own scenario, the
necessary counterpart to his active aggressor: whether 'she' resists her own violation, whether
she enjoys it in involuntary bodily response and against her will, or whether she is voluntarily
Previous Page Next Page