Español The Poetics of Ruin in Dipo by Marcelo Bertuccio: Fragmentation and Void in the Rewriting of Classical Tragedy

This article analyzes the notion of ruin as an aesthetic and structural principle in Dipo (2019), a play by Argentine playwright Marcelo Bertuccio. The drama is a contemporary rewriting of the seven surviving Greco-Roman tragedies that explore the myth of the Labdacids. From the field of classical r...

Descripción completa

Guardado en:
Detalles Bibliográficos
Autor principal: Rizzuti, Miriam Beatriz
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2026
Materias:
Oedipus
Bertuccio
Theatre
Reception
Ruin
Edipo
Teatro
Ruina
Recepción
Acceso en línea:https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/17234
Aporte de:
telondefondo de Universidad de Buenos Aires
id I28-R267-article-17234
record_format ojs
spelling I28-R267-article-172342026-01-06T16:29:10Z Español The Poetics of Ruin in Dipo by Marcelo Bertuccio: Fragmentation and Void in the Rewriting of Classical Tragedy La poética de la ruina en Dipo de Marcelo Bertuccio: fragmentación y vacío en la reescritura de la tragedia clásica Rizzuti, Miriam Beatriz Rizzuti, Miriam Beatriz Oedipus Bertuccio Theatre Reception Ruin Edipo Bertuccio Teatro Ruina Recepción This article analyzes the notion of ruin as an aesthetic and structural principle in Dipo (2019), a play by Argentine playwright Marcelo Bertuccio. The drama is a contemporary rewriting of the seven surviving Greco-Roman tragedies that explore the myth of the Labdacids. From the field of classical reception studies, the article examines how the ruinous condition of ancient texts endures in the new play. Through intertextual analysis and the author’s testimony, the article observes that Dipo operates as both a theatrical and literary device that not only incorporates textual remains but also activates them creatively. The play recovers all ancient versions of the myth and connects them, fragments the names of the characters, displaces the collective voice of the Greek chorus, dispenses with the stage directions present in the source texts used by Bertuccio, and removes ancient references. This gives rise to a poetics of absence, fragmentation, and multiplicity. The article concludes that in Dipo, ruin does not function as a loss, but as a productive form that generates new meanings and legitimizes its inscription in the lineage of classical rewritings. En este artículo analizamos la noción de ruina como principio estético y estructural en Dipo (2019), obra del dramaturgo argentino Marcelo Bertuccio. El drama constituye una reescritura contemporánea de las siete tragedias grecolatinas conservadas que abordan el mito de los Labdácidas. Desde el campo de los estudios de recepción clásica, examinamos cómo la condición de ruina de los textos antiguos pervive en la nueva obra. A través del análisis intertextual y del testimonio del autor, observamos que Dipo funciona como un dispositivo teatral y literario que no solo incorpora restos textuales, sino que los activa de manera creativa. La obra recupera todas las versiones antiguas del mito y las vincula, rompe los nombres de los personajes, desplaza la voz colectiva del coro griego, prescinde de las acotaciones presentes en las versiones con las que trabajó Bertuccio y elimina referencias antiguas, lo que da lugar a una poética de la ausencia, de la fragmentación y de la multiplicidad. Concluimos que la ruina opera en Dipo no como una pérdida, sino como una forma productiva que genera nuevos sentidos y legitima su inscripción en la serie de las reescrituras clásicas. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2026-01-06 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/17234 10.34096/tdf.n42.17234 telondefondo. Revista de Teoría y Crítica Teatral; Núm. 42 (2025) 1669-6301 spa https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/17234/15819 Derechos de autor 2026 Miriam Beatriz Rizzuti https://creativecommons.org/licenses/by-sa/4.0
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-267
container_title_str telondefondo
language Español
format Artículo revista
topic Oedipus
Bertuccio
Theatre
Reception
Ruin
Edipo
Bertuccio
Teatro
Ruina
Recepción
spellingShingle Oedipus
Bertuccio
Theatre
Reception
Ruin
Edipo
Bertuccio
Teatro
Ruina
Recepción
Rizzuti, Miriam Beatriz
Rizzuti, Miriam Beatriz
Español The Poetics of Ruin in Dipo by Marcelo Bertuccio: Fragmentation and Void in the Rewriting of Classical Tragedy
topic_facet Oedipus
Bertuccio
Theatre
Reception
Ruin
Edipo
Bertuccio
Teatro
Ruina
Recepción
author Rizzuti, Miriam Beatriz
Rizzuti, Miriam Beatriz
author_facet Rizzuti, Miriam Beatriz
Rizzuti, Miriam Beatriz
author_sort Rizzuti, Miriam Beatriz
title Español The Poetics of Ruin in Dipo by Marcelo Bertuccio: Fragmentation and Void in the Rewriting of Classical Tragedy
title_short Español The Poetics of Ruin in Dipo by Marcelo Bertuccio: Fragmentation and Void in the Rewriting of Classical Tragedy
title_full Español The Poetics of Ruin in Dipo by Marcelo Bertuccio: Fragmentation and Void in the Rewriting of Classical Tragedy
title_fullStr Español The Poetics of Ruin in Dipo by Marcelo Bertuccio: Fragmentation and Void in the Rewriting of Classical Tragedy
title_full_unstemmed Español The Poetics of Ruin in Dipo by Marcelo Bertuccio: Fragmentation and Void in the Rewriting of Classical Tragedy
title_sort español the poetics of ruin in dipo by marcelo bertuccio: fragmentation and void in the rewriting of classical tragedy
description This article analyzes the notion of ruin as an aesthetic and structural principle in Dipo (2019), a play by Argentine playwright Marcelo Bertuccio. The drama is a contemporary rewriting of the seven surviving Greco-Roman tragedies that explore the myth of the Labdacids. From the field of classical reception studies, the article examines how the ruinous condition of ancient texts endures in the new play. Through intertextual analysis and the author’s testimony, the article observes that Dipo operates as both a theatrical and literary device that not only incorporates textual remains but also activates them creatively. The play recovers all ancient versions of the myth and connects them, fragments the names of the characters, displaces the collective voice of the Greek chorus, dispenses with the stage directions present in the source texts used by Bertuccio, and removes ancient references. This gives rise to a poetics of absence, fragmentation, and multiplicity. The article concludes that in Dipo, ruin does not function as a loss, but as a productive form that generates new meanings and legitimizes its inscription in the lineage of classical rewritings.
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2026
url https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/17234
work_keys_str_mv AT rizzutimiriambeatriz espanolthepoeticsofruinindipobymarcelobertucciofragmentationandvoidintherewritingofclassicaltragedy
AT rizzutimiriambeatriz espanolthepoeticsofruinindipobymarcelobertucciofragmentationandvoidintherewritingofclassicaltragedy
AT rizzutimiriambeatriz lapoeticadelaruinaendipodemarcelobertucciofragmentacionyvacioenlareescrituradelatragediaclasica
AT rizzutimiriambeatriz lapoeticadelaruinaendipodemarcelobertucciofragmentacionyvacioenlareescrituradelatragediaclasica
first_indexed 2026-01-13T05:07:38Z
last_indexed 2026-01-13T05:07:38Z
_version_ 1854176869323112448

Ejemplares similares