Dramaturgias de la (con)fusión. Déjà vu (tinku-barroco) de Renaud Semper y la politicidad del reenactment

Abstract

The following article aims, in principle, to explain the different levels of analysis of the work Déjà vu (tinku-baroque) through the concepts of (con)fusion and déjà vu. In a second instance, it will seek to explore the implications of the work within the framework of what, in Dance Studies, is often referred to as the theory of reenactment. It is argued that through the theatrical manipulation of a sensitive experience linked to history and identity, the work enables new ways of understanding the political functionality of the dances of the past. In this way, historical dances are not exclusively a place of patrimonial preservation but a space for the affirmation and re-foundation of collective identities.