Publication: La construcción del personaje en la obra de Juan Mayorga
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2018-03-19
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Universidad Complutense de Madrid
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Abstract
Uno de los pilares fundamentales en los que reposa la dramaturgia del madrileño Juan Mayorga es la figura del personaje, hija de la tradición teatral dramática de Occidente pero también hija de su tiempo, un tiempo que olvida la historia y al que desbordan el progreso desquiciado y la necesidad imperante que tienen muchos, de dominar a los demás. En medio del multiforme e intenso universo mayorguiano cargado de pasado, de ideas filosóficas y, sobre todo, de interrogantes, el personaje es el elemento que, en la mayoría de los casos, contiene las distintas visiones de mundo que el dramaturgo aspira a poner en conversación en la escena. Nuestro objetivo con la presente investigación, es centrarnos en el estudio de la figura del personaje teatral mayorguiano, enfocándonos principalmente en el estudio de los personajes animales no humanos y en el estudio de los personajes niños y adolescentes. La escogencia de ambas categorías se deriva de la constatación de que, de las veinte obras extensas que ha publicado el dramaturgo hasta la fecha, en diez aparecen estos tipos de personajes. Son figuras recurrentes del autor, con las que se distancia del pensamiento hegemónico del hombre adulto y prueba a mirar a través de sus puntos de vista...
One of the fundamental pillars on which Juan Mayorga’s playwriting stands, is the figure of the character, daughter of the western theatrical tradition but also daughter of her time, a time that forgets history and it’s overflown by a deranged progress and the imperative need many have, of dominating others. In the midst of the multiform and intense Mayorguian universe, loaded with past, philosophical ideas, and above all, with questions, the character is the element that, in most cases, contains the different visions of the world which the playwrights hopes to set in a conversation on stage. Our objective with this research is to center on the study of the figure of the Mayorguian theater character, focusing mainly on the study of animal and non-human characters and the study of children and teenage characters. The choice of both categories derives from the ascertainment that, out of the 20 extensive plays the playwright has published to this date, in ten there are these types of characters. They are recurrent figures of the author, with which he takes distance from the hegemonic thinking of the grownup man and tries looking through their points of view. With animal non-human characters, besides expressing his thoughts and ideas (more than with other characters), he does a democratic exercise in which neither point of view – animal and human – colonizes the other. He creates an animal-human offspring that questions the reality of human animals and calls attention to their darkest zones. The offspring turns out to be so captivating precisely because it is a new point of view, a fresh look that unmasks the human condition, that puzzles and identifies at the same time the audience and that takes them to deep reflections about their own attitudes and ways of being in the world...
One of the fundamental pillars on which Juan Mayorga’s playwriting stands, is the figure of the character, daughter of the western theatrical tradition but also daughter of her time, a time that forgets history and it’s overflown by a deranged progress and the imperative need many have, of dominating others. In the midst of the multiform and intense Mayorguian universe, loaded with past, philosophical ideas, and above all, with questions, the character is the element that, in most cases, contains the different visions of the world which the playwrights hopes to set in a conversation on stage. Our objective with this research is to center on the study of the figure of the Mayorguian theater character, focusing mainly on the study of animal and non-human characters and the study of children and teenage characters. The choice of both categories derives from the ascertainment that, out of the 20 extensive plays the playwright has published to this date, in ten there are these types of characters. They are recurrent figures of the author, with which he takes distance from the hegemonic thinking of the grownup man and tries looking through their points of view. With animal non-human characters, besides expressing his thoughts and ideas (more than with other characters), he does a democratic exercise in which neither point of view – animal and human – colonizes the other. He creates an animal-human offspring that questions the reality of human animals and calls attention to their darkest zones. The offspring turns out to be so captivating precisely because it is a new point of view, a fresh look that unmasks the human condition, that puzzles and identifies at the same time the audience and that takes them to deep reflections about their own attitudes and ways of being in the world...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, leída el 15-07-2016