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Colombian and Bosnian Theatre Audiences: Activating Self-criticism for Conflict Resolution

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Colombia and Bosnia and Herzegovina (BiH) are post-conflict societies. Both try to establish social cohesion that brings an end to the officially terminated conflicts which, however, are still ongoing in people’s everyday lives. Colombia and BiH are divided nations, but highly hybrid and active in integrating all actors in the conflict. Even though not all ways of including the various perspectives are equally beneficial for building peace, the agonistic memory’s principle that any kind of large-scale violent conflict typically engages all social actors and blurs the lines between victims, perpetrators and bystanders is becoming a relevant tool to achieve a lasting peace. Memory activists in cooperation with governmental institutions are using artistic means to raise people’s awareness about this fact. What role are theatre performances playing in encouraging self-criticism in Colombian and Bosnian audiences by drawing attention to the need to include the undesirable others? Is this self-criticism making living together more feasible? How is theatre challenging audiences this way without being instrumentalised and having its aesthetic ambition diminished? I aim to answer these questions by presenting my on-site research conducted in BiH and Colombia (2018-2019), where I have carried out analyses of theatre audiences’ in relation to conflict resolution.
Original languageEnglish
Publication year2018
Publication statusAccepted/In press - 2018
EventThird Annual Memory Studies Association Conference - Complutense University of Madrid , Madrid, Spain
Duration: 25 Jun 201928 Jun 2019


ConferenceThird Annual Memory Studies Association Conference
LocationComplutense University of Madrid
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