La dimensión fractal del teatro en el cine argentino contemporáneo: formas que se asemejan en diferentes escalas

The aim of this article is to analyze the dramatic text Fractal. Una especulacion cientifica (2000) —a collective creative work carried out under the direction of Rafael Spregelburd— in the context of the productiveness of the Argentine theater of the nineties in contemporary cinema, considering the work as hinge between the two art forms. On the one hand, because it condenses many of the procedures used in the so-called theater of disintegration (PELLETTIERI, 2000; RODRIGUEZ, 2000) which involves a certain conception of the practice stage, the construction process and the link between theater and reality. Such procedures are alienation and concern for the language, the disintegration of the traditional conception of the character, iteration, not defend a realistic thesis and the use of absurdist elements. On the other hand, because we believe it is a key precedent of what we decide to call postdramatic or situational cinema, by the repetition, on another scale, of narrative and structural operations, the status of the characters and the iterative construction or butterfly effect of the scenes, focusing on the film Viola (2012, Matias Pineiro).