“El Desconcierto” de Diana Raznovich: imagen y palabra, el cuerpo femenino como lugar de resistencia

Abstract

Diana Raznovich makes use in El Desconcierto of a series of highly effective strategies to question the masculine gaze and its normative role over female body. Among these very successful strategies we can underline: the use of the naked female body in scene presented in terms of power in line with Laura Mulvey (Visual and Other Pleasures, Bloomington, Indiana University Press, 1989) the parody of feminine archetypes in patriarchal society, the introduction of phallic fetishism in scene, as well as the use of a very powerful minimalist scenery composed by the actress only accompanied by a musical element-a piano- that calls attention to the revival of a new subjectivity erected from the marginal.