ABSTRACT
Trained as a dancer and choreographer, Laura Yusem began directing theatre in Argentina in 1970 and became famous for her 1980 interpreta tion of Tadeusz Rozewicz’s Boda blanca (White Wedding) (1980), which won several prizes. Her versions of La malasangre (Bad Blood) (1981), Antigona Juriosa (Antigone Enraged) (1986) and Penas sin importancia (Trivial Sorrows) (1990) by Griselda G am baro, and Pablo (1987) and Paso de dos (Pas de Deux) (1990) by Eduardo P avlovsk y were out
standing for their spatial sense, use of actors and their elaborate formal preparation, though some have suggested her work is excessively concerned with aesthetic qualities.
