What about Dragon, the Argentine advocate of open drama?

Source: Research on Contemporary Latin American Literature (published by Social Science Literature Publishing House in March 212)

About the author: Zhu Jingdong, a researcher at the Institute of Foreign Literature, China Academy of Social Sciences.

osvaldo? Dragon (1929-1999), a famous Argentine playwright, was born in Entre? A Jewish immigrant family in Rios province. When I was young, I studied law and worked as a director and actor in several amateur troupes. Frey, who entered Buenos Aires in 1956? Mocho Folk Troupe is engaged in drama activities that reflect social problems. In the same year, the troupe put his play "Plague from Melos" on the stage. This is an allegorical historical drama, which reveals the crime of the armed invasion of the U.S. imperialists and the subversion of the Abens government in Guatemala in 1954 through the story of ancient Greece. This play determined the direction of his later drama development. Another play, Stories for Telling (1957), further demonstrated his dramatic talent. The script includes three lively short plays, namely, The Story of Periodontitis, The Infector of the Black Death in South Africa and The Story of the Man Who Turned into a Dog. Its plot and skills are relatively simple and simple, and most of them reflect social disadvantages, such as social rigidity and lack of humanity, which has a strong irony. For example, the story of periodontitis revolves around a street worker: his life was originally very quiet, but unexpectedly he suffered from periodontal disease, which made him unbearable. However, his family is poor, and his wife is lazy. The doctor who treated him valued his reward and was particularly cold to him. All this forced him to work hard despite his toothache, and as a result, his condition deteriorated and eventually killed him. In the same year, Dragon wrote a long play "The Guest at Table No.1" (1957) and a historical drama with realistic style "Tupac? Amaru (1957), the content of which is about the tragic struggle against the Spanish colonists launched by the Incas in 1781. In the face of the ferocious Spanish conqueror Arreche, the Incas were very calm. Tupac? Although Amaru was blind and tortured, he showed no weakness in spirit. And Arreche, facing this fearless "prisoner", felt helpless and went crazy. The ferocious face of the Spanish colonists was exposed. Dragon's play Garden of Hell, published in 1959, points the finger at poverty and corruption in big cities, which has a tendency of social naturalism. His Miracle of the Old Market (1963) introduced a series of little people on the edge of society. People tell us that we are immortal, published in the same year, shows the lack of moral values of the younger generation, thus bringing all kinds of troubles to society. This play obviously uses Brecht's dramatic skills and vaudeville means, and targets many lines at the audience, resulting in funny, humorous and ironic effects. In Moreta (1964), Dragon arranged the plot in the Italian immigrant area of Buenos Aires, and created a shouting comedy, which was specially written for actors. The play was full of shouting, love confession and humor.

Dragon and Agustin? Couseni and Andreas? Together with Lizarraga, they promoted the Argentine independent drama movement in the 195s-a real and vigorous drama movement. They worked quietly, quietly and stubbornly, exploring the development path of national drama completely and freely, exploring new forms of drama expression and new drama language, and reflecting the real life and social events in a historical period. And since 1951, osvaldo? Dragon has become one of the advocates and protagonists of Argentine open drama movement which lasted for several years. This movement is a cultural resistance to Argentina's military dictatorship and has a wide influence among the people. Dragon and many people in the theater organized and promoted the development of this movement. The Open Troupe performed Dragon's Me and My Obelisk (1981), To the Winner (1982) and Eat Thin Today (1983). In 1988, Dragon founded and led the Latin American and Caribbean Theatre School in Havana. In September 1996, Dragon went to Buenos Aires as the director of Cervantes National Theatre until his death.

Dragon's other plays include The Heroine of Buenos Aires (1966), The Story in Prison (1973), The Invaders (1981), The Fallen Path (1983), Dough (1984), Back to Havana, The Loneliness of Astronauts, etc. Among them, The Fallen Man writes a fictional dramatic character: an admirable proletarian image who became a boxing champion but gave up this honor. Because he would rather be himself than be the winner that everyone tries to win. In an anti-traditional space-the audience is sitting in the trapezoidal stands-director Jose? Bowie's in casto? Blair flexibly mobilized the characters and props on the stage to create the atmosphere and plot of the original work.

Dragon wrote more than 3 plays in his life, and won the Cuban American House Drama Award twice. As an active advocate and practitioner of Argentine open drama, he went down in history.