Publication: Las dos se hacen con sangre: la violencia repetida en Todos los gatos son pardos, de Carlos Fuentes
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Date
2016-12-31
Authors
Sanchis Amat, Víctor Manuel
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info:eu-repo/semantics/article
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El artículo aborda en primer lugar la recepción del convulso año de 1968 en el teatro mexicano contemporáneo. Los acontecimientos del 2 de octubre en la Plaza de Tlatelolco motivaron una reflexión identitaria que asimilaba una constante de reiteración de la violencia en la historia mexicana que inaugura Octavio Paz en Postdata, ensayo que apostilla El laberinto de la Soledad. A partir de la noción de traslación referencial que plantea Daniel Meyran, analizamos en esta línea la pieza teatral de Carlos Fuentes Todos los gatos son pardos (o Ceremonia del alba) en la que el trágico 1968 se reinterpreta a luz de los personajes que protagonizaron la conquista de México en el siglo XVI.
Firstly, this article deals with the reception of the tumultuous 1968 in the contemporary Mexican theatre. The events which took place on the 2nd of October in Tlatelolco Square led to re- flection on identity which assimilated a continuous repetition of violence in Mex- ican history that was unveiled by Octavio Paz in Postdata, essay annotated to El Laberinto de la Soledad. From the notion of “referential transference” laid out by Daniel Meyran, we can analyze the play Todos los Gatos son Pardos (or Ceremo- nia del Alba) by Carlos Fuentes, in which the turbulent 1968 is reinterpreted in the view of the characters who were in- volved in the Mexican Conquest during the 16th Century.
Firstly, this article deals with the reception of the tumultuous 1968 in the contemporary Mexican theatre. The events which took place on the 2nd of October in Tlatelolco Square led to re- flection on identity which assimilated a continuous repetition of violence in Mex- ican history that was unveiled by Octavio Paz in Postdata, essay annotated to El Laberinto de la Soledad. From the notion of “referential transference” laid out by Daniel Meyran, we can analyze the play Todos los Gatos son Pardos (or Ceremo- nia del Alba) by Carlos Fuentes, in which the turbulent 1968 is reinterpreted in the view of the characters who were in- volved in the Mexican Conquest during the 16th Century.
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