La dialéctica del amo y el esclavo como clave interpretativa del teatro emergente en la dictadura uruguaya de los a？os 70

aristotle and freud, among others, supported the idea that drama plays a central role in social life, through catharsis or the possibility of purging repressed desires, particularly when totalitarian regimes suspend fundamental freedoms. however, in the theatrical microsystem emerging during the uruguayan dictatorship (1973-1984), the kind of hero that arose was humiliated, subjected to violence. how did the spectator reach his/her catharsis by observing an anti-hero that perpetuated the country's reality on stage? the answer to this question lies in hegel and his dialectic of master and slave. this paper shall look into the way in which this hypothesis can be applied to two examples of the microsystem mentioned above.