Works cited
Arfuch, Leonor, 2013. Memoria y autobiografía: exploraciones en los límites (Buenos Aires: Fondo de Cultura Económica de Argentina).
Arias, Lola, 2016. Campo minado/ Minefield. Unpublished manuscript, pp. 1-45.
Barthes, Roland, 2003. Camera Lucida: Reflections on Photography (London: Vintage Classics).
Bennett, Susan, 2006. ‘3-D A/B’, in Theatre and Autobiography: Writing and Performing Lives in Theory and Practice, ed. S. Grace and J. Wasserman (Vancouver: Talonbooks), pp. 33-45.
Blejmar, Jordana, 2017. ‘Autofictions of Postwar: Fostering Empathy in Lola Arias’ Minefield/ Campo Minado’, Latin American Theatre Review 50.2: 103-23.
Campo minado, 2016. Written and directed by Lola Arias, produced by Sofía Medici and Luz Algranti. Argentina, first performed at the Brighton Festival, 28 May 2016.
Cruz, Alejandro, 2016. ‘El Campo minado, la vida después de dos soldados enemigos en las islas Malvinas’, La Nación, 17 November.
El año en que nací. 2012. Written and directed by Lola Arias. Argentina, first performed at the Festival Santiago a Mil, organised by the Fundación Teatro a Mil, at Santiago de Chile, Chile, 2012.
Esteban, Edgardo, 1993. Iluminados por el fuego (Buenos Aires: Sudamericana).
Gardner, Lyn, 2016. ‘Minefield: The Falklands Drama Taking Veterans Back to the Battle’, The Guardian, 26 May.
Gente, 1982. Front cover, 2 April.
Grace, Sherrill, and Jerry Wasserman (eds), 2006. Theatre and Autobiography: Writing and Performing Lives in Theory and Practice (Vancouver: Talonbooks).
Herrscher, Roberto, 2007. Los viajes de Penélope (Barcelona: Tusquets).
Islas de la memoria, 2011. Written and directed by Julio Cardoso, first performed in Buenos Aires.
Jones, Phil (ed.), 2007. Drama as Therapy: Theory, Practice and Research, Vol. I (New York: Routledge).
Jones, Phil, 2010. Drama as Therapy: Clinical Work and Research into Practice, Vol. II (New York: Routledge).
Kon, Daniel, 1982. Los chicos de la guerra (Buenos Aires: Galerna).
‘La artista de lo imposible’, 2016. La Razón, 16 November.
Lejeune, Philippe, 1989. ‘The autobiographical pact (bis)’, in On Autobiography, ed. P. J. Eakin (Minneapolis: University of Minnesota Press), pp. 119-37.
Maguire, Geoffrey, 2018. ‘Screening the Past: Reflexivity, Repetition and the Spectator in Lola Arias’ Minefield/Campo minado (2016)’, Bulletin of Latin American Research 38.4: 471-86.
Malvinas, imágenes de un naufragio, 2006. Exhibition of photographs by Diego Paruelo. Argentina, Museo de l Memoria, Córdoba, 28 July.
Martin, Carol, 2010. ‘Bodies of Evidence’, in Dramaturgy of the Real on the World Stage, ed. C. Martin (London and New York: Palgrave Macmillan), pp. 17-26.
Martin, Carol, 2013. Theatre of The Real (London: Palgrave Macmillan).
Mi vida después, 2009. Written and directed by Lola Arias. Produced by Sofía Medici. Argentina, first performed at Complejo Teatral de Buenos Aires, Buenos Aires, Argentina, 26 March 2009.
Museo Miguel Ángel Boezzio, 1998. Written and directed by Federico Leon, first performed at Centro Cultural Rojas, Buenos Aires, Argentina, 1998.
Reinelt, Janelle, 2009. ‘The Promise of Documentary’, in Get Real: Documentary Theatre Past and Present, ed. A. Forsyth and C. Megson (London and New York: Palgrave Macmillan), pp. 6-23.
Sagastume, Gabriel, 2007. Lluvia curó las heridas: Viaje a las Islas Malvinas (Buenos Aires, La Plata: Libros de la talita dorada).
Schechner, Robert, 1985. ‘Restoration of Behavior’, in Between Theatre and Anthropology by Richard Schechner (Philadelphia, PA: University of Pennsylvania Press), pp. 35-116.
Simmel, Georg, 1950. ‘The Stranger’, in The Sociology of Georg Simmel, ed. K. H. Wolff (New York: Free Press), pp. 402-08.
Taylor, Diana, 2003. The Archive and the Repertoire (London: Duke University Press).
Taylor, Paul, 2016. ‘Minefield, Royal Court London, Theatre Review: Unforgettably Potent’, The Independent, 6 June.
Travnik, Juan, 2008. Malvinas. Retratos y paisajes de una guerra (1993-2008) (Buenos Aires: Larivière).
Arfuch, Leonor, 2013. Memoria y autobiografía: exploraciones en los límites (Buenos Aires: Fondo de Cultura Económica de Argentina).
Arias, Lola, 2016. Campo minado/ Minefield. Unpublished manuscript, pp. 1-45.
Barthes, Roland, 2003. Camera Lucida: Reflections on Photography (London: Vintage Classics).
Bennett, Susan, 2006. ‘3-D A/B’, in Theatre and Autobiography: Writing and Performing Lives in Theory and Practice, ed. S. Grace and J. Wasserman (Vancouver: Talonbooks), pp. 33-45.
Blejmar, Jordana, 2017. ‘Autofictions of Postwar: Fostering Empathy in Lola Arias’ Minefield/ Campo Minado’, Latin American Theatre Review 50.2: 103-23.
Campo minado, 2016. Written and directed by Lola Arias, produced by Sofía Medici and Luz Algranti. Argentina, first performed at the Brighton Festival, 28 May 2016.
Cruz, Alejandro, 2016. ‘El Campo minado, la vida después de dos soldados enemigos en las islas Malvinas’, La Nación, 17 November.
El año en que nací. 2012. Written and directed by Lola Arias. Argentina, first performed at the Festival Santiago a Mil, organised by the Fundación Teatro a Mil, at Santiago de Chile, Chile, 2012.
Esteban, Edgardo, 1993. Iluminados por el fuego (Buenos Aires: Sudamericana).
Gardner, Lyn, 2016. ‘Minefield: The Falklands Drama Taking Veterans Back to the Battle’, The Guardian, 26 May.
Gente, 1982. Front cover, 2 April.
Grace, Sherrill, and Jerry Wasserman (eds), 2006. Theatre and Autobiography: Writing and Performing Lives in Theory and Practice (Vancouver: Talonbooks).
Herrscher, Roberto, 2007. Los viajes de Penélope (Barcelona: Tusquets).
Islas de la memoria, 2011. Written and directed by Julio Cardoso, first performed in Buenos Aires.
Jones, Phil (ed.), 2007. Drama as Therapy: Theory, Practice and Research, Vol. I (New York: Routledge).
Jones, Phil, 2010. Drama as Therapy: Clinical Work and Research into Practice, Vol. II (New York: Routledge).
Kon, Daniel, 1982. Los chicos de la guerra (Buenos Aires: Galerna).
‘La artista de lo imposible’, 2016. La Razón, 16 November.
Lejeune, Philippe, 1989. ‘The autobiographical pact (bis)’, in On Autobiography, ed. P. J. Eakin (Minneapolis: University of Minnesota Press), pp. 119-37.
Maguire, Geoffrey, 2018. ‘Screening the Past: Reflexivity, Repetition and the Spectator in Lola Arias’ Minefield/Campo minado (2016)’, Bulletin of Latin American Research 38.4: 471-86.
Malvinas, imágenes de un naufragio, 2006. Exhibition of photographs by Diego Paruelo. Argentina, Museo de l Memoria, Córdoba, 28 July.
Martin, Carol, 2010. ‘Bodies of Evidence’, in Dramaturgy of the Real on the World Stage, ed. C. Martin (London and New York: Palgrave Macmillan), pp. 17-26.
Martin, Carol, 2013. Theatre of The Real (London: Palgrave Macmillan).
Mi vida después, 2009. Written and directed by Lola Arias. Produced by Sofía Medici. Argentina, first performed at Complejo Teatral de Buenos Aires, Buenos Aires, Argentina, 26 March 2009.
Museo Miguel Ángel Boezzio, 1998. Written and directed by Federico Leon, first performed at Centro Cultural Rojas, Buenos Aires, Argentina, 1998.
Reinelt, Janelle, 2009. ‘The Promise of Documentary’, in Get Real: Documentary Theatre Past and Present, ed. A. Forsyth and C. Megson (London and New York: Palgrave Macmillan), pp. 6-23.
Sagastume, Gabriel, 2007. Lluvia curó las heridas: Viaje a las Islas Malvinas (Buenos Aires, La Plata: Libros de la talita dorada).
Schechner, Robert, 1985. ‘Restoration of Behavior’, in Between Theatre and Anthropology by Richard Schechner (Philadelphia, PA: University of Pennsylvania Press), pp. 35-116.
Simmel, Georg, 1950. ‘The Stranger’, in The Sociology of Georg Simmel, ed. K. H. Wolff (New York: Free Press), pp. 402-08.
Taylor, Diana, 2003. The Archive and the Repertoire (London: Duke University Press).
Taylor, Paul, 2016. ‘Minefield, Royal Court London, Theatre Review: Unforgettably Potent’, The Independent, 6 June.
Travnik, Juan, 2008. Malvinas. Retratos y paisajes de una guerra (1993-2008) (Buenos Aires: Larivière).
Film and video
Desobediencia debida. 2010, dir. Victoria Reale (INCAA, Centro Cultural Recoleta and Victoria Reale Producciones).
The Falklands War: The Untold Story. 1987, dir. Peter Kosminsky (Yorkshire Television).
Fuckland. 2000, dir. José Luis Márques (Atomic Films, Cinecolor and Videocolor).
Iluminados por el fuego. 2005, dir. Tristán Bauer (INCAA, UNSAM, Gobierno de la Provincia de San Luis, Gobierno de la Provincia de Santa Cruz, Canal+ España, San Luis Cine).
Locos de la bandera, 2004, dir. Julio Cardoso (INCAA and Comisión de Familiares de Caídos en Malvinas e Islas del Atlántico Sur).
Los chicos de la guerra. 1984, dir. Bebe Kamin (K Films, INCAA).
Los rubios. 2003, dir. Albertina Carri (Barry Ellsworth and Albertina Carri).
Malvinas, viajes del Bicentenario. 2010, dir. Julio Cardoso (INCAA and Comisión de Familiares de Caídos en Malvinas e Islas del Atlántico Sur).
Teatro de guerra. 2018, dir. Lola Arias (Gema Films).
Veteranos. 2014, dir. Lola Arias. Video installation (Sofía Medici and Luz Algranti).
Desobediencia debida. 2010, dir. Victoria Reale (INCAA, Centro Cultural Recoleta and Victoria Reale Producciones).
The Falklands War: The Untold Story. 1987, dir. Peter Kosminsky (Yorkshire Television).
Fuckland. 2000, dir. José Luis Márques (Atomic Films, Cinecolor and Videocolor).
Iluminados por el fuego. 2005, dir. Tristán Bauer (INCAA, UNSAM, Gobierno de la Provincia de San Luis, Gobierno de la Provincia de Santa Cruz, Canal+ España, San Luis Cine).
Locos de la bandera, 2004, dir. Julio Cardoso (INCAA and Comisión de Familiares de Caídos en Malvinas e Islas del Atlántico Sur).
Los chicos de la guerra. 1984, dir. Bebe Kamin (K Films, INCAA).
Los rubios. 2003, dir. Albertina Carri (Barry Ellsworth and Albertina Carri).
Malvinas, viajes del Bicentenario. 2010, dir. Julio Cardoso (INCAA and Comisión de Familiares de Caídos en Malvinas e Islas del Atlántico Sur).
Teatro de guerra. 2018, dir. Lola Arias (Gema Films).
Veteranos. 2014, dir. Lola Arias. Video installation (Sofía Medici and Luz Algranti).