Limits and possibilities of speech acts in Rodolfo Usigli’s characters
This critical note analyzes the speech acts performed by the characters César Rubio from El gesticulador, Fausto from Mientras amemos, Sarah from Aguas Estancadas, and Harmodio from ¡Buenos días, señor Presidente! within the diegesis of the plays. In the development of this study, those performative...
| Autor: | |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2024 |
| País: | México |
| Institución: | UNIVERSIDAD DE SONORA |
| Repositorio: | Cannotas. Revista de crítica y teoría literarias. |
| Idioma: | español |
| OAI Identifier: | oai:aoi.connotas.unison.mx:article/486 |
| Acceso en línea: | https://connotas.unison.mx/index.php/critlit/article/view/486 |
| Access Level: | acceso abierto |
| Palabra clave: | dramaturgia mexicana enunciados performativos verdad y teatro Mexican dramaturgy performative utterances truth and theater |
| Sumario: | This critical note analyzes the speech acts performed by the characters César Rubio from El gesticulador, Fausto from Mientras amemos, Sarah from Aguas Estancadas, and Harmodio from ¡Buenos días, señor Presidente! within the diegesis of the plays. In the development of this study, those performative utterances are classified as lucky or unlucky according to the rules proposed by John L. Austin. The purpose of the work is to postulate that the performative utterances offer a modified perspective of the reality of the characters who inhabit each play and who construct their fictional environment in relation to language. The analysis shows that truth in Rodolfo Usigli’s dramas is a verbal phenomenon built from the statements of the characters and their assumptions these utterances. Therefore, one of the ways in which truth is manifested in Usigli’s theater is through the representation of language. |
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