El escenario como espacio de la memoria en Ya nadie recuerda a Fréderic Chopin de Roberto Cossa

Ya nadie recuerda a Fréderic Chopin (1982) by Roberto Cossa is part of a set of works in which the past functions as a burden that paralyzes the characters or as a place in which to escape the present. This set of pieces, which we consider under the label “unproductive nostalgia,” are presented in an introductory section that offers a complete map of Cossa’s works on memory. The second part of the article analyzes Ya nadie recuerda a Fréderic Chopin, focusing on the theatrical procedures used to boost on stage the conscience of the protagonist, such as the polychrome of scenic time, the insertion of scenes from the past, and the intense poetic atmosphere that generates the staging of nostalgia. Finally, we underscore the ultimate dramatic twist, in which the author makes evident his corrosive criticism of the middle class of Buenos Aires within the dictatorial context in which the piece was written and premiered.