Per-versiones de sí mismo: Potestad y Paso de dos

Argentinian dictatorships have produced distinct results during different periods. One of these was forgiveness, a forgiveness granted to those who had committed acts that resulted in a wounded, resentful society. The oblivion imposed by the laws of the restored democracy resulted in a forced union of brutalized men and women in the same space with their repressors. Beyond the denunciation undertaken by many writers and playwrights, Pavlovsky’s Potestad and Paso de dos provide a point of view that blurs the division between the “good” and the “evil” person. Pavlovsky’s opaque and multivocal theatre confuses, disturbs, and even scandalizes the audience. In these works, victim and victimizer come face to face after repressive times, a process that can only be accomplished through a perverted, or per-verted, version of oneself, which not only allows a relationship to form between them, but also the reinsertion of old repressors in a “free,” newly re-created society.