(Anti)Drama: Emergence of a concept. Reflections on the work of Guillermo Calderón.
My doctoral thesis was entitled: “(Anti)Dramatismo: Emergence of a concept. Reflections on the work of Guillermo Calderón” In it I set up a theoretical constellation that makes two gestures possible: The reflection on the concept-suitcase “Antidrama” that was insinuated by Walter Benjamin and the se...
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| Format: | doctoral thesis |
| Status: | Published version |
| Publication Date: | 2021 |
| Country: | Chile |
| OAI Identifier: | oai:repositorio.anid.cl:10533/253236 |
| Online Access: | https://hdl.handle.net/10533/253236 |
| Access Level: | Open access |
| Keyword: | Humanidades Lenguage y Literatura Estudios Generales de la Literatura |
| Summary: | My doctoral thesis was entitled: “(Anti)Dramatismo: Emergence of a concept. Reflections on the work of Guillermo Calderón” In it I set up a theoretical constellation that makes two gestures possible: The reflection on the concept-suitcase “Antidrama” that was insinuated by Walter Benjamin and the second gesture, deploying an “antidramatic” reading of the work of the Chilean playwright Guillermo Calderón. These two elements, theoretical reflection and aesthetic materiality, are amalgamated and configure the hypothesis of the work: There is a conceptual component in all theatrical creation that the modern German aesthetic-philosophical tradition called antidramatism. It is plausible to identify this concept in most of the plays whose core is the tragic. The thesis focused on the work of playwright Guillermo Calderón. The investigation dealt with the pieces with the highest national circulation: Neva (2006), Clase (2008), Diciembre (2008), Villa+Discurso (2011), Beben (2012), Escuela (2013), Mateluna (2016) and B ( 2017). These pieces make up the ‘Obra Mayor’. There is another more heteroclite group, made up of movie scripts, other theater pieces, directing exercises and remakes. I have called this second group 'Minor Work', since they function as transitional and experimental spaces in relation to the larger work. The choice of Calderón's work is based on the understanding that the work of art is supported by a tripod made up of Ethics, Aesthetics and Politics. This criterion served as a taxonomic principle to order the periods of the object. The balance between these dimensions is not perfect; Identifying these imbalances, and pointing them out, allowed me to group Calderón's pieces into an aesthetic, an ethical, and a political period, and I ordered the final text accordingly. One of the conclusions of the thesis was the axiom: ““Calderón's theater is a theater of appointment”. In order to unravel the macro-concept of 'quote', it is proposed to understand it "[as] a philosophical problem (...). (unfolded) in dissimilar dimensions (...) as an 'Authority Quote', as a 'catalyst of time', as an 'affective archive'." (Benítez 266) |
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