La tierra más ajena, 1955.
Un signo en tu sombra, 1955.
La última inocencia, 1956.
Las aventuras perdidas, 1958.
Árbol de Diana, 1962.
Los trabajos y las noches, 1965.
Extracción de la piedra de locura, 1968.
Nombres y figuras, 1969.
Los poseídos entre lilas, 1969.
El infierno musical, 1971.
La condesa sangrienta, 1971.
Los pequeños cantos, 1971.
Una noche en el desierto, 1978.
Publicaciones póstumas:
El deseo de la palabra, 1975.
Zona prohibida, 1982.
Poemas, 1982.
Textos de Sombra y últimos poemas, 1982.
Correspondencia Pizarnik, 1998.
Obras completas, 2000.
Poesía completa, 2000.
Alejandra Pizarnik is born under the name of Flora Pizarnik in 1936, in the city of Avellaneda, Province of Buenos Aires. Her parents were a married couple of Jewish immigrants who came to Argentina after spending a brief period of time in Paris, where one of her father's brothers lived. In Argentina, he is going to found a jewelry store and the couple is going to have two daughters (Myriam and Flora). They will live in a large house in Avellaneda, on Lambaré Street. Almost all the rest of the family that stays in Europe will be victims of the Holocaust, and as César Aira says, "for the girl it must have meant an early contact with the effects of death". When she finishes high school, she begins the search for her literary vocation. She will go to the University of Philosophy and Letters, but in this passage, what will leave a mark in her life is the encounter with the Professor of Modern Literature Juan Jacobo Bajarlía. Through Bajarlía, Alejandra Pizanrnik comes into contact with the surrealist poets, an encounter that will leave a deep mark in her conception of the word and poetry. She will establish strong friendships with poets who will accompany her all her life: Antonio Requena, Roberto Yahni, Olga Orozco (who will be one of the friends who will be in charge of her papers and her library after her suicide), Ivonne Bordelois, Arturo Carrera, Roberto Juárroz, León Ostrov (one of her therapists). In 1960, she goes to Paris, where she lives for four years, surviving with jobs she detested and composing probably the most lucid and essential moment of her poetry collection, Arbol de Diana (1962) and Los trabajos y las noches (1965). In Paris she will establish a close friendship with Julio Cortázar and Aurora Bernárdez. Also with Octavio Paz, who will write the prologue to Tree of Diana. The anguish, the Angst, which marked her since she was a child, will be accentuated as the years go by. When she returns to Argentina, the anguish will be even more acute. In 1968, she wins the Guggenheim Fellowship and goes to New York, which will seem to her a fierce and dead city at the same time. From there she embarks to Paris and the French May revolts terrify her. From the moment she moves back to Buenos Aires, her pain will become more and more unbearable. From that stage of her life, she is marked by her friendship with Silvina Ocampo. Where did her pain and fears come from, will be the questions that will go through all her writing. On September 25, 1972, she took her own life by taking fifty Seconal pills. Inspired by Rimbaud, Alejandra Pizarnik set out to rethink life from its foundations and to turn her own life into a work of art. Few poets crossed life and literature in such an honest way.
Argentina, 1979. Cynthia Edul is a novelist, playwright and theater director. She has a degree in Literature from the University of Buenos Aires (UBA) and in Playwriting from the Escuela Municipal de Arte Dramático (EMAD), and teaches at the Humanities Department of the University of San Andrés and the University of Hurlingham. As a performing arts curator, she created, together with Alejandro Tantanian, Panorama Sur. She is the author of the novels La sucesión and La tierra empezaba a arder. Último regreso a Syria.
Born in 1980, she is an actress, playwright and co-director of the theater group Piel de Lava (Colores verdaderos, Neblina, Tren, Museo and Petróleo). She was also part of the company El silencio with which she premiered Algo de ruido hace, El tiempo todo entero and Fauna, all written and directed by Romina Paula. With the last two she toured France and Spain.
In theater she worked with Javier Daulte (Automáticos) Mariano Pensotti (El pasado es un animal grotesco) Daniel Veronese (Vigilia de Noche) Rafael Spregelburd (Acasusso and La terquedad) at the Teatro Nacional Cervantes, (for which play she won the ACE for best actress of 2017). In film she worked with Mariano Llinás (La Flor) , Hernán Guerschuny and Jazmín Stuart (Recreo, winner of the best actress award at the Huelva International Festival) Matias Luchessi (El Pampero) Camila Toker (La muerte de Marga Maier) Constanza Novick (El futuro que viene) Ariel Winograd (Mamá se fue de viaje) Juan Schnitman (El incendio, Fernando Salem (Cómo funcionan casi todas las cosas, for this film she won the sur award for best supporting actress) Juan Minujin (Vaquero) Hernan Goldfrid (Música en espera) Delfina Castagnino (Lo que más quiero, for this film she won the award for best actress in international competition at the Bafici 2010 edition). In television she worked in "Para vestir santos", "Los únicos", "Tiempos compulsivos", "Farsantes" and "Signos", among others.
In 2018 she was part of the Artist in Residence program of the Complejo Teatral de Buenos Aires with a retrospective of all the works of the group Piel de Lava (Colores Verdaderos, Neblina, Tren y Museo) and premiered Petróleo at the Sala Sarmiento. In 2019 "Petróleo" was restaged at the Sala Casacuberta of the Teatro San Martín and is currently performing at the Teatro Metropolitan (for this play she won the ACE best actress in 2019). She currently was awarded the Konex award as one of the five best theater actresses of the decade.
Alejandra Pizarnik is born under the name of Flora Pizarnik in 1936, in the city of Avellaneda, Province of Buenos Aires. Her parents were a married couple of Jewish immigrants who came to Argentina after spending a brief period of time in Paris, where one of her father's brothers lived. In Argentina, he is going to found a jewelry store and the couple is going to have two daughters (Myriam and Flora). They will live in a large house in Avellaneda, on Lambaré Street. Almost all the rest of the family that stays in Europe will be victims of the Holocaust, and as César Aira says, "for the girl it must have meant an early contact with the effects of death". When she finishes high school, she begins the search for her literary vocation. She will go to the University of Philosophy and Letters, but in this passage, what will leave a mark in her life is the encounter with the Professor of Modern Literature Juan Jacobo Bajarlía. Through Bajarlía, Alejandra Pizanrnik comes into contact with the surrealist poets, an encounter that will leave a deep mark in her conception of the word and poetry. She will establish strong friendships with poets who will accompany her all her life: Antonio Requena, Roberto Yahni, Olga Orozco (who will be one of the friends who will be in charge of her papers and her library after her suicide), Ivonne Bordelois, Arturo Carrera, Roberto Juárroz, León Ostrov (one of her therapists). In 1960, she goes to Paris, where she lives for four years, surviving with jobs she detested and composing probably the most lucid and essential moment of her poetry collection, Arbol de Diana (1962) and Los trabajos y las noches (1965). In Paris she will establish a close friendship with Julio Cortázar and Aurora Bernárdez. Also with Octavio Paz, who will write the prologue to Tree of Diana. The anguish, the Angst, which marked her since she was a child, will be accentuated as the years go by. When she returns to Argentina, the anguish will be even more acute. In 1968, she wins the Guggenheim Fellowship and goes to New York, which will seem to her a fierce and dead city at the same time. From there she embarks to Paris and the French May revolts terrify her. From the moment she moves back to Buenos Aires, her pain will become more and more unbearable. From that stage of her life, she is marked by her friendship with Silvina Ocampo. Where did her pain and fears come from, will be the questions that will go through all her writing. On September 25, 1972, she took her own life by taking fifty Seconal pills. Inspired by Rimbaud, Alejandra Pizarnik set out to rethink life from its foundations and to turn her own life into a work of art. Few poets crossed life and literature in such an honest way.
La tierra más ajena, 1955.
Un signo en tu sombra, 1955.
La última inocencia, 1956.
Las aventuras perdidas, 1958.
Árbol de Diana, 1962.
Los trabajos y las noches, 1965.
Extracción de la piedra de locura, 1968.
Nombres y figuras, 1969.
Los poseídos entre lilas, 1969.
El infierno musical, 1971.
La condesa sangrienta, 1971.
Los pequeños cantos, 1971.
Una noche en el desierto, 1978.
Publicaciones póstumas:
El deseo de la palabra, 1975.
Zona prohibida, 1982.
Poemas, 1982.
Textos de Sombra y últimos poemas, 1982.
Correspondencia Pizarnik, 1998.
Obras completas, 2000.
Poesía completa, 2000.
Argentina, 1979. Cynthia Edul is a novelist, playwright and theater director. She has a degree in Literature from the University of Buenos Aires (UBA) and in Playwriting from the Escuela Municipal de Arte Dramático (EMAD), and teaches at the Humanities Department of the University of San Andrés and the University of Hurlingham. As a performing arts curator, she created, together with Alejandro Tantanian, Panorama Sur. She is the author of the novels La sucesión and La tierra empezaba a arder. Último regreso a Syria.
Born in 1980, she is an actress, playwright and co-director of the theater group Piel de Lava (Colores verdaderos, Neblina, Tren, Museo and Petróleo). She was also part of the company El silencio with which she premiered Algo de ruido hace, El tiempo todo entero and Fauna, all written and directed by Romina Paula. With the last two she toured France and Spain.
In theater she worked with Javier Daulte (Automáticos) Mariano Pensotti (El pasado es un animal grotesco) Daniel Veronese (Vigilia de Noche) Rafael Spregelburd (Acasusso and La terquedad) at the Teatro Nacional Cervantes, (for which play she won the ACE for best actress of 2017). In film she worked with Mariano Llinás (La Flor) , Hernán Guerschuny and Jazmín Stuart (Recreo, winner of the best actress award at the Huelva International Festival) Matias Luchessi (El Pampero) Camila Toker (La muerte de Marga Maier) Constanza Novick (El futuro que viene) Ariel Winograd (Mamá se fue de viaje) Juan Schnitman (El incendio, Fernando Salem (Cómo funcionan casi todas las cosas, for this film she won the sur award for best supporting actress) Juan Minujin (Vaquero) Hernan Goldfrid (Música en espera) Delfina Castagnino (Lo que más quiero, for this film she won the award for best actress in international competition at the Bafici 2010 edition). In television she worked in "Para vestir santos", "Los únicos", "Tiempos compulsivos", "Farsantes" and "Signos", among others.
In 2018 she was part of the Artist in Residence program of the Complejo Teatral de Buenos Aires with a retrospective of all the works of the group Piel de Lava (Colores Verdaderos, Neblina, Tren y Museo) and premiered Petróleo at the Sala Sarmiento. In 2019 "Petróleo" was restaged at the Sala Casacuberta of the Teatro San Martín and is currently performing at the Teatro Metropolitan (for this play she won the ACE best actress in 2019). She currently was awarded the Konex award as one of the five best theater actresses of the decade.
© 2021