The Comic and the Humorous in the Sainete and the Grotesco: A Comparative Analysis of Los disfrazados by Pacheco and Mateo by Discépolo

This paper analyzes the turn from comic to humorous modes in early 20th-century Río de la Plata theater, through a comparative study of Los disfrazados (1906) by Carlos Mauricio Pacheco and Mateo (1923) by Armando Discépolo. Respectively, these works represent the genres of the sainete and the grote...

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Autor principal: Amorin Alsina, Gastón
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2026
Materias:
Satire
Humor
Comicity
Sainete
Grotesco
Sátira
Humorismo
Comicidad
Acceso en línea:https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/17582
Aporte de:
telondefondo de Universidad de Buenos Aires
id I28-R267-article-17582
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spelling I28-R267-article-175822026-01-06T16:28:54Z The Comic and the Humorous in the Sainete and the Grotesco: A Comparative Analysis of Los disfrazados by Pacheco and Mateo by Discépolo Lo cómico y el humor en el sainete y el grotesco: análisis comparado de Los disfrazados de Pacheco y Mateo de Discépolo Amorin Alsina, Gastón Amorin Alsina, Gastón Satire Humor Comicity Sainete Grotesco Sátira Humorismo Comicidad Sainete Grotesco This paper analyzes the turn from comic to humorous modes in early 20th-century Río de la Plata theater, through a comparative study of Los disfrazados (1906) by Carlos Mauricio Pacheco and Mateo (1923) by Armando Discépolo. Respectively, these works represent the genres of the sainete and the grotesco criollo, which coexisted and overlapped in the theatrical scene of the time. Drawing on Mikhail Bakhtin’s (2003) theories of carnivalesque laughter and the grotesque, and Luigi Pirandello’s (1994) notion of humor as a "feeling of the opposite", the paper explores how comedic genres of the period shifted from external, collective expressions of comicity to internal, reflective ones. Additionally, recent contributions by Suárez (2021a; 2021b) provide a framework to understand this transformation as a dispositif. In Los disfrazados, the comic emerges through the use of language and the festivities of carnival itself, although the ending of the play takes a turn toward interiority. In Mateo, humor rises from the tension between dramatic and comedic conventions, and offers a critical yet empathetic take on family and social conflicts. The article concludes that this shift from the comic to the humorous signals a change in the social and aesthetic sensibilities of Río de la Plata theater. Este trabajo analiza la transformación de lo cómico en humor en el teatro rioplatense de comienzos del siglo XX, a partir del estudio comparado de Los disfrazados (1906) de Carlos Mauricio Pacheco y Mateo (1923) de Armando Discépolo. Ambas obras representan, respectivamente, los géneros del sainete y el grotesco criollo, que convivieron en la escena teatral de la época. A partir de los aportes teóricos de Bajtín (2003) sobre la risa carnavalesca y el grotesco, y de Pirandello (1994) sobre el humor como sentimiento de lo contrario, se explora cómo el enfoque de la comicidad se desplaza desde lo colectivo y externo hacia lo individual y reflexivo. Asimismo, los estudios contemporáneos de Suárez (2021a; 2021b) permiten abordar esta transformación como un dispositivo. En Los Disfrazados, lo cómico se articula mediante el lenguaje y las situaciones festivas propias del carnaval; sin embargo, hacia el final, el conflicto adquiere una dimensión interiorizada. En Mateo, el humor surge de la tensión entre drama y comedia, atravesando los conflictos familiares y sociales con una mirada crítica y empática. Se concluye que esta deriva de lo cómico al humor refleja un cambio en la sensibilidad social y estética del teatro nacional. 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/17582 10.34096/tdf.n42.17582 telondefondo. Revista de Teoría y Crítica Teatral; Núm. 42 (2025) 1669-6301 spa https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/17582/15821 Derechos de autor 2026 Gastón Amorin Alsina 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 Satire
Humor
Comicity
Sainete
Grotesco
Sátira
Humorismo
Comicidad
Sainete
Grotesco
spellingShingle Satire
Humor
Comicity
Sainete
Grotesco
Sátira
Humorismo
Comicidad
Sainete
Grotesco
Amorin Alsina, Gastón
Amorin Alsina, Gastón
The Comic and the Humorous in the Sainete and the Grotesco: A Comparative Analysis of Los disfrazados by Pacheco and Mateo by Discépolo
topic_facet Satire
Humor
Comicity
Sainete
Grotesco
Sátira
Humorismo
Comicidad
Sainete
Grotesco
author Amorin Alsina, Gastón
Amorin Alsina, Gastón
author_facet Amorin Alsina, Gastón
Amorin Alsina, Gastón
author_sort Amorin Alsina, Gastón
title The Comic and the Humorous in the Sainete and the Grotesco: A Comparative Analysis of Los disfrazados by Pacheco and Mateo by Discépolo
title_short The Comic and the Humorous in the Sainete and the Grotesco: A Comparative Analysis of Los disfrazados by Pacheco and Mateo by Discépolo
title_full The Comic and the Humorous in the Sainete and the Grotesco: A Comparative Analysis of Los disfrazados by Pacheco and Mateo by Discépolo
title_fullStr The Comic and the Humorous in the Sainete and the Grotesco: A Comparative Analysis of Los disfrazados by Pacheco and Mateo by Discépolo
title_full_unstemmed The Comic and the Humorous in the Sainete and the Grotesco: A Comparative Analysis of Los disfrazados by Pacheco and Mateo by Discépolo
title_sort comic and the humorous in the sainete and the grotesco: a comparative analysis of los disfrazados by pacheco and mateo by discépolo
description This paper analyzes the turn from comic to humorous modes in early 20th-century Río de la Plata theater, through a comparative study of Los disfrazados (1906) by Carlos Mauricio Pacheco and Mateo (1923) by Armando Discépolo. Respectively, these works represent the genres of the sainete and the grotesco criollo, which coexisted and overlapped in the theatrical scene of the time. Drawing on Mikhail Bakhtin’s (2003) theories of carnivalesque laughter and the grotesque, and Luigi Pirandello’s (1994) notion of humor as a "feeling of the opposite", the paper explores how comedic genres of the period shifted from external, collective expressions of comicity to internal, reflective ones. Additionally, recent contributions by Suárez (2021a; 2021b) provide a framework to understand this transformation as a dispositif. In Los disfrazados, the comic emerges through the use of language and the festivities of carnival itself, although the ending of the play takes a turn toward interiority. In Mateo, humor rises from the tension between dramatic and comedic conventions, and offers a critical yet empathetic take on family and social conflicts. The article concludes that this shift from the comic to the humorous signals a change in the social and aesthetic sensibilities of Río de la Plata theater.
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2026
url https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/17582
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first_indexed 2026-01-13T05:07:39Z
last_indexed 2026-01-13T05:07:39Z
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