“Ensamble cronotópico: descalzas sobre blanco con maleta y escritura encontrada mujer”: el collage en la construcción de una poética feminista propuesta por María Bonilla en las obras “yo soy aquella a la que llamaron Antígona”, “Ofelia y Hamlet” y “Silencio roto”
Archivos
Fecha
2021
Tipo
tesis de maestría
Autores
Amador Rojas, Elvia María
Título de la revista
ISSN de la revista
Título del volumen
Editor
Resumen
Esta investigación busca en los intersticios de la poética, la estética y la política. Se pregunta por el agenciamiento que la estética collage logra en la poética feminista de la académica, escritora y teatrista María Bonilla. Toma como objeto de estudio concretamente las obras: “Yo soy aquella a la que llamaron Antígona” (2010), “Ofelia y Hamlet” (2012) y “Silencio Roto” (inédita). Mediante la metodología de la Poética Teatral analiza la producción de esta autora con cierta inclinación semiótica, pero tomando en cuenta su ética, en tanto concepción de teatro que modaliza su práctica escénica. María Bonilla, a través de su obra, en este caso teatral, pone en crisis los significados normalizados asociados a la mujer, subrayando el origen de éstos en las obras clásicas de la literatura occidental y promoviendo los avances en el discurso feminista al respecto. Este proceso de representación o significación de lo real participa al mismo tiempo de su transformación. Sobre todo, en cuanto a la creación de “imágenes vivenciales” que el teatro faculta desde la presencia en la creación de lo auto referencial, auto ficcional, meta teatral, readymade, etc. El gesto en el lenguaje que construye esta exposición siniestra de sí en articulación con su contexto constituye una acción revolucionaria en el escenario de la realidad social costarricense.
This investigation seeks in the interstices of poetics, aesthetics and politics. We argue about the agency that collage aesthetics achieves in the feminist poetics of the academic, writer, and theater artist María Bonilla. It takes as its object of study specifically the plays: “Yo soy aquella a la que llamaron Antígona” (2010), “Ofelia y Hamlet” (2012) y “Silencio Roto” (unpublished). Through the methodology of Theater Poetics, it analyzes the production of this female author with a certain semiotic inclination, but taking into account her ethics, as a conception of theater that forms her stage practice. María Bonilla, through her work, in this case theatrical, puts in crisis the normalized meanings associated with women, underlining their origin in the classic works of Western literature and promoting advances in feminist discourse in this regard. This process of representation or meaning of the real participates at the same time in its transformation. Above all, regarding the creation of "experiential images" that the theater empowers from the presence in the creation of the self-referential, self-fictional, theatrical meta, readymade, etc. The gesture in language that constructs this sinister exposition of oneself in articulation with its context constitutes a revolutionary action on the stage of Costa Rican social reality.
This investigation seeks in the interstices of poetics, aesthetics and politics. We argue about the agency that collage aesthetics achieves in the feminist poetics of the academic, writer, and theater artist María Bonilla. It takes as its object of study specifically the plays: “Yo soy aquella a la que llamaron Antígona” (2010), “Ofelia y Hamlet” (2012) y “Silencio Roto” (unpublished). Through the methodology of Theater Poetics, it analyzes the production of this female author with a certain semiotic inclination, but taking into account her ethics, as a conception of theater that forms her stage practice. María Bonilla, through her work, in this case theatrical, puts in crisis the normalized meanings associated with women, underlining their origin in the classic works of Western literature and promoting advances in feminist discourse in this regard. This process of representation or meaning of the real participates at the same time in its transformation. Above all, regarding the creation of "experiential images" that the theater empowers from the presence in the creation of the self-referential, self-fictional, theatrical meta, readymade, etc. The gesture in language that constructs this sinister exposition of oneself in articulation with its context constitutes a revolutionary action on the stage of Costa Rican social reality.
Descripción
Palabras clave
Collage, María Bonilla, Poética feminista, Estética, dramaturgia escénica, Shakespeare, Antígona