Fragmentación y sentido en cuatro textos teatrales chilenos contemporáneos
Even if the contemporary theatrical text is numerous and multifaceted, the study of new playwriting has come to some agreement: we are facing a fragmentary text, that is not at the extreme of ceasing to exist at and for the scene, but that recognizes himself as a component among others in it and not...
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2016
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| Acceso en línea: | http://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/3143 http://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=3143_oai |
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| Sumario: | Even if the contemporary theatrical text is numerous and multifaceted, the study of new playwriting has come to some agreement: we are facing a fragmentary text, that is not at the extreme of ceasing to exist at and for the scene, but that recognizes himself as a component among others in it and not as the most decisive and fundamental element, as it was conceived for centuries.The paper examines some of the theoretical precedents of the procedure of fragmentation, its ideological suppositions and its features in four Chilean contemporary theatrical texts: H.P. (Hans Pozo) (2007) by Luis Barrales; Simulacro (2008) by La Re-sentida company; Cristo (2008) by Manuela Infante and Hombre acosado por demonios ante un espejo (2010) by Rolando Jara. I will suggest that the writing procedure of fragmentation, not only strengthens a new relationship between playwriting and stage, but it also represents a greater collaboration of the audience on the configuration of meaning of the play and deliberately breaks the mimetic bond between art and world, questioning it within the play. |
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