Publication: La literatura posdramática: Angélica Liddell ("La casa de la fuerza" y la trilogía "El centro del mundo")
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2017-03-09
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Universidad Complutense de Madrid
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Abstract
A lo largo del siglo XX, el teatro se rebela contra el imperialismo textual. Paradójicamente, al liberarse de sus tareas funcionales en relación con el drama, la palabra escénica recobra sus posibilidades estéticas y da lugar a una serie de poéticas abiertas más allá de la comunicación como mímesis del diálogo o macroestructura. Angélica Liddell (Figueres, 1966) es un filón a la hora de repensar la dramaturgia. Sin ella sería imposible comprender el teatro contemporáneo nacional y, desde su irrupción en el Festival de Aviñón, el internacional. Entre otros muchos galardones, ha recibido el Premio Nacional de Literatura Dramática (2012) y el León de Plata de la Bienal de Venecia (2013). Aunque es una artista polifacética, destaca como “autora de la palabra” y por una voluntad poética explícita. A partir de 2009, con La Casa de la fuerza y la posterior trilogía El centro del mundo (2013) se produce un salto cualitativo: abandona la idea de fábula y la heterogeneidad triunfa sobre la unidad. Sin dejar de hacer alusión a su trayectoria anterior, situándola en su contexto cultural, y a su último lanzamiento, el Ciclo de las resurrecciones (2015), este estudio se fija en estas cuatro piezas, “un teatro con un mínimo de dramaturgia” (Heiner Müller). Aun cuando esta poética tiene, todavía hoy, muchos detractores, acostumbrados a la inmutabilidad de las representaciones del siglo XIX, e ignorantes de otra herencia, la adjudicación en 2012 del máximo reconocimiento del Estado a La Casa de la fuerza invita a pensar, no solo en una transformación intelectual, en relación con las estrategias de representación, sino social y política...
All through the 20th century, drama rebels against textual imperialism. Paradoxically, by freeing itself from those functional tasks related to drama, theatrical language recuperates its aesthetic possibilities, which in turn, gives birth to a series of open poetics that go beyond communication as a mimesis of dialogue or macrostructure. Angélica Liddell (Figueres, 1966) is a valuable source that enables us to rethink drama. Without her, it would be impossible to understand contemporary national theatre, and, after her incursion in the Festival d'Avignon, international drama as well. Among many other awards, she has received the National Drama Award (2012) and the Silver Lion at the Venice Biennale (2013). Although she is a multifaceted artist, Angélica stands out as a “master of the word” with an explicit poetic intention. From 2009, with La casa de la fuerza, and later, with her trilogy El centro del mundo (2013), she makes a qualitative leap forward: she leaves behind the idea of fable and heterogeneity triumphs over unity. While making reference to her initial trajectory, and to her last project, Ciclo de las resurrecciones (2015), this study focuses on the above mentioned pieces, “theatre with a minimum of dramaturgy” (Heiner Müller). Even today, these poetics have many detractors, accustomed to the immutability of the 19th century performances and ignorant of a different kind of heritage. Nevertheless, the awarding in 2012 of the National Dramatic Literature Prize to La Casa de la fuerza encourages us to think, not only of an intellectual transformation in performing strategies, but also of a social and political transformation...
All through the 20th century, drama rebels against textual imperialism. Paradoxically, by freeing itself from those functional tasks related to drama, theatrical language recuperates its aesthetic possibilities, which in turn, gives birth to a series of open poetics that go beyond communication as a mimesis of dialogue or macrostructure. Angélica Liddell (Figueres, 1966) is a valuable source that enables us to rethink drama. Without her, it would be impossible to understand contemporary national theatre, and, after her incursion in the Festival d'Avignon, international drama as well. Among many other awards, she has received the National Drama Award (2012) and the Silver Lion at the Venice Biennale (2013). Although she is a multifaceted artist, Angélica stands out as a “master of the word” with an explicit poetic intention. From 2009, with La casa de la fuerza, and later, with her trilogy El centro del mundo (2013), she makes a qualitative leap forward: she leaves behind the idea of fable and heterogeneity triumphs over unity. While making reference to her initial trajectory, and to her last project, Ciclo de las resurrecciones (2015), this study focuses on the above mentioned pieces, “theatre with a minimum of dramaturgy” (Heiner Müller). Even today, these poetics have many detractors, accustomed to the immutability of the 19th century performances and ignorant of a different kind of heritage. Nevertheless, the awarding in 2012 of the National Dramatic Literature Prize to La Casa de la fuerza encourages us to think, not only of an intellectual transformation in performing strategies, but also of a social and political transformation...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, Departamento de Comunicación Audiovisual y Publicidad I, leída el 15-01-2016