Autoficción y performance: las escenificaciones autoriales de Gabriela Wiener
Autofiction and Performance: Gabriela Wiener’s Authorial Scenifications

Summary/Abstract: This article explores the various strategies for staging authorial voice and presence by Peruvian writer Gabriela Wiener who rehearses different forms of self-figuration, by drawing on thematic and codified forms of the writings of the self in order to question them. To that end, I rely on the theories of Erika Fischer-Lichte (2011) on the aesthetics of performance in the context of the self-reflective and self-referential drift of postmodern art. I also use Sonya Longolius’ (2016) notion of performative authorship, according to which it is necessary to distinguish the autobiographical self from the self-author, i.e. the name appears in books and whose identity is in perpetual evolution. I will analyze the comic “Todos vuelven” (Llamada perdida, 2009), the interview book Dicen de mí (2017), the drama Qué locura enamorarme yo de ti (2019) and the novel Huaco retrato (2021) because they explicitly allude to the authorial role. Their performative strategies coincide with those enumerated by Longolius, namely: 1) integrating other voices in the text itself; 2) projecting the author’s figure in the work; and 3) blurring the boundaries between autobiography and fiction. I add a fourth one, namely repeating the regulatory practices of what is understood by authorship, as well as introducing certain subversive elements that resignify it (Sayad 2013: 12).

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