¿Teatro épico hoy? Paradojas radicales y tres dramas en español
[EN] Shedding a light on epic drama conduces us to consider two radical paradoxes: first, a political paradox, since epic drama is supposed to serve the proletarian class, whereas proletarians are unable to actually support it; second, a narrative paradox, in that it seems to contradict the Aristote...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2013 |
| País: | España |
| Institución: | Consejo Superior de Investigaciones Científicas (CSIC) |
| Repositorio: | DIGITAL.CSIC. Repositorio Institucional del CSIC |
| OAI Identifier: | oai:digital.csic.es:10261/137991 |
| Acceso en línea: | http://hdl.handle.net/10261/137991 |
| Access Level: | acceso abierto |
| Palabra clave: | Epic drama Political drama Narrative drama Contemporary drama Drama in Spanish Teatro épico Teatro político Teatro narrativo Teatro actual Teatro en español |
| Sumario: | [EN] Shedding a light on epic drama conduces us to consider two radical paradoxes: first, a political paradox, since epic drama is supposed to serve the proletarian class, whereas proletarians are unable to actually support it; second, a narrative paradox, in that it seems to contradict the Aristotelian theory by confusing the two fundamental modes of imitation. Nevertheless, the aesthetic innovations brought by epic drama are still alive in spite of the outdated political and revolutionary dogmatism on which it was supposedly founded. The thesis is illustrated by examples from three significant contemporary plays in Spanish: Rashid 9/11 from Jaime Chabaud (Mexico), Himmelweg from Juan Mayorga (Spain) and Huevos from Ulises Rodríguez Febles (Cuba). |
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