The Argentine playwright, whose satirical play
"Happyland" is showing in Buenos Aires, takes a new angle -
looking at Isabel Perón, less feted than "Evita," but who became
the first female president of Argentina when Juan Peron died in
1974.
The country is now set for the return of the Peronists, who won
elections last month and will come back into the Casa Rosada
presidential palace in December. On the ticket as vice president
is Cristina Fernandez de Kirchner, a modern day embodiment of
Peronism often compared to Evita.
The play mixes historical fact with mythology and poetic
license, following Isabel, the third wife of Perón, from meeting
the Argentine leader in Panama to her imprisonment in 1976 in
Patagonia after being overthrown by the military dictatorship.
During her time in power, the country saw one of the bloodiest
periods in its history and she faced allegations of enabling
political killings of leftist dissidents.
"I am happy that the work stirs things up and consequently makes
us think. That is a shadow of our history that we should not
reject or feel ashamed of," Demaría told Reuters, describing the
work as a "ghost story and political satire."
"We need to assimilate it to move forward because otherwise it
will come back in the form of a ghost. That's the problem. The
dead always come back when there is something unresolved."
Some scenes refer to those killed by the government-linked death
squad known as the "Triple A," while in another Evita directly
confronts Isabel, who in March 1976 was ousted in a military
coup that ushered in the seven-year "Dirty War."
Today, at 88, Isabel Perón lives in Madrid, while Argentina
faces continuous cycles of crisis with high inflation, heavy
levels of debt, poverty and unemployment some blame on Peronism.
Evita, meanwhile, remains a powerful figure in the country.
"Isabelita achieved what the other (Evita) did not," said
Demaría, referring to her taking the reins of government.
"However, one is forgotten and the other is remembered."
(Reporting by Lucila Sigal; Editing by Adam Jourdan and Steve
Orlofsky)
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