Summary

The play "The train of 4:30", of 1993, predates several of the works usually mentioned as examples of postmemory. The experience, of which children of missing persons formed part, arose in the framework of a research project carried out between 1991 and 1993 in Argentina and in three other countries in Latin America -Chile, El Salvador and Guatemala- by mental health professionals linked to human rights. This early example would see his postmemorial mark reinforced by the exercises put into play in the workshops held in Argentina, of which those who participated in the work were part. Given its markedly subjective and metaphorical character, "The Train of 4:30" would be presented as an episode linked to the construction of memory but outside of a testimonial or merely conjunctural record. In this sense, his language is fundamentally poetic. Halfway between the beginning of the post-dictatorship, 1983, and the year in which "Los rubios" (2003) was released, the work we present could contribute to the post-memory studies panorama one of the first examples of artistic and collective creation made by children of disappeared.

Keywords: dictatorship | disappeared | theater | postmemory