El monólogo como práctica dramatúrgica feminista en los años ochenta: el ejemplo de Maribel Lázaro (La fosa y La defensa)
[EN] The visibility and recognition of Women playwrights in Spanish theater did not occur until the eighties after the conquests of feminist movements. For that reason, women playwrights explore in their works new ways of thinking about subjectivity. The monologue provides them with a way of explori...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | España |
| Institución: | Consejo Superior de Investigaciones Científicas (CSIC) |
| Repositorio: | DIGITAL.CSIC. Repositorio Institucional del CSIC |
| OAI Identifier: | oai:digital.csic.es:10261/238236 |
| Acceso en línea: | http://hdl.handle.net/10261/238236 |
| Access Level: | acceso abierto |
| Palabra clave: | Monologue Spanish theatre Feminism Eighties women playwrights Maribel Lázaro Monólogo Teatro español Feminismo Dramaturgas de los ochenta http://metadata.un.org/sdg/5 Achieve gender equality and empower all women and girls |
| Sumario: | [EN] The visibility and recognition of Women playwrights in Spanish theater did not occur until the eighties after the conquests of feminist movements. For that reason, women playwrights explore in their works new ways of thinking about subjectivity. The monologue provides them with a way of exploring themselves and with a form of engaged theater. This textual corpus is studied in this article in a global way in order to contextualize feminist dramaturgies and in particular the dramatic proposals of Maribel Lázaro, who in 1986 wrote two monologues La fosa [The pit] and La defensa [The defense]. Therefore, we analyze the terminological problem around the concept of «monologue». Moreover, we reflect on the dramatic structure in which the denunciation, self-recognition and negation of the discourse of the female character coexist in a paradox that opens the path to a consolidation of the feminist theater in Spain. |
|---|