A loneliness full of voices. The experience of pain and rhapsodic writing in contemporary monologues: Bilis negra, El empapelado amarillo and Susurro
In 21st century theater, in the context of the crisis of modern drama, we find a proliferation of dramatic monologues that explore discursive and scenic possibilities to highlight, among other issues, the contemporary crisis in communication and the fragmentation and hybridity of identity. Experimen...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Humanidades
2022
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| Acceso en línea: | https://revistas.unc.edu.ar/index.php/recial/article/view/37550 |
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I10-R377-article-37550 |
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I10-R377-article-375502025-11-29T22:29:26Z A loneliness full of voices. The experience of pain and rhapsodic writing in contemporary monologues: Bilis negra, El empapelado amarillo and Susurro Una soledad poblada de voces. Experiencia del dolor y escritura rapsódica en monólogos contemporáneos: Bilis negra, El empapelado amarillo y Susurro Otaño, Estefanía Sena, Leticia Paz rhapsody experience of pain monologue dramaturgy contemporary theatre escritura rapsódica experiencia del dolor monólogo dramaturgia teatro contemporáneo In 21st century theater, in the context of the crisis of modern drama, we find a proliferation of dramatic monologues that explore discursive and scenic possibilities to highlight, among other issues, the contemporary crisis in communication and the fragmentation and hybridity of identity. Experiments with the body alone on stage and with the voice in the first person problematize the self as a public intimacy and as a crossing of multiple voices. Bilis negra. Teatro de autopsia (2015), by Convencion Teatro, El empapelado amarillo (de Charlotte Perkins Gilman) (2019-2021), by María Laura Caccamo and Carlos Lipsic, and Susurro (2020), by Estefanía Otaño, are monologues that explore rhapsodic writings –rewriting, phago-cytization, collage, generic hybridization– and experiment the pain of a woman’s self crossed by a plurality of voices. With these procedures of scenic writing, the experience of suffering, singular and non-transferable, becomes common: the borders between what is self and what is foreign are blurred in an inter-subjective affection. Starting from an approach to the creative processes, the reading of theatrical texts and the analysis of theatrical performances, we will study the political power of the dramaturgy of monologues, insofar as they can be thought of as populated solitudes. En el teatro del siglo XXI, en el contexto de la crisis del drama moderno, encontramos una proliferación de monólogos dramáticos que exploran posibilidades discursivas y escénicas para poner en evidencia, entre otras cuestiones, la crisis en la comunicación contemporánea y la fragmentación e hibridez de la identidad. Las experimentaciones con el cuerpo solo en escena y con la voz en primera persona problematizan el yo como una intimidad pública y como un atravesamiento de múltiples voces. Bilis negra. Teatro de autopsia (2015), de Convención Teatro, El empapelado amarillo (de Charlotte Perkins Gilman) (2019-2021), de María Laura Caccamo y Carlos Lipsic, y Susurro (2020), de Estefanía Otaño, son monólogos que indagan en escrituras rapsódicas –reescritura, fago-citación, collage, hibridación genérica– y experimentan el dolor desde un yo mujer cruzado por una pluralidad de voces. Con estos procedimientos de escritura escénica, la experiencia del sufrimiento, singular e intransferible, deviene común: los bordes entre lo propio y lo ajeno se difuminan en una afección intersubjetiva. A partir de un acercamiento a los procesos creativos, la lectura de los textos teatrales y el análisis de las puestas teatrales, estudiaremos la potencia política de las dramaturgias monologales, en tanto pueden pensarse como soledades pobladas. Facultad de Filosofía y Humanidades 2022-07-07 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf text/html https://revistas.unc.edu.ar/index.php/recial/article/view/37550 10.53971/2718.658x.v13.n21.37550 Recial; Vol. 13 Núm. 21 (2022): Dossier: Géneros y sexualidades en las músicas populares 2718-658X 1853-4112 10.53971/2718.658x.v13.n21 spa https://revistas.unc.edu.ar/index.php/recial/article/view/37550/38175 https://revistas.unc.edu.ar/index.php/recial/article/view/37550/38181 https://creativecommons.org/licenses/by-nc-sa/4.0 |
| institution |
Universidad Nacional de Córdoba |
| institution_str |
I-10 |
| repository_str |
R-377 |
| container_title_str |
Recial |
| language |
Español |
| format |
Artículo revista |
| topic |
rhapsody experience of pain monologue dramaturgy contemporary theatre escritura rapsódica experiencia del dolor monólogo dramaturgia teatro contemporáneo |
| spellingShingle |
rhapsody experience of pain monologue dramaturgy contemporary theatre escritura rapsódica experiencia del dolor monólogo dramaturgia teatro contemporáneo Otaño, Estefanía Sena, Leticia Paz A loneliness full of voices. The experience of pain and rhapsodic writing in contemporary monologues: Bilis negra, El empapelado amarillo and Susurro |
| topic_facet |
rhapsody experience of pain monologue dramaturgy contemporary theatre escritura rapsódica experiencia del dolor monólogo dramaturgia teatro contemporáneo |
| author |
Otaño, Estefanía Sena, Leticia Paz |
| author_facet |
Otaño, Estefanía Sena, Leticia Paz |
| author_sort |
Otaño, Estefanía |
| title |
A loneliness full of voices. The experience of pain and rhapsodic writing in contemporary monologues: Bilis negra, El empapelado amarillo and Susurro |
| title_short |
A loneliness full of voices. The experience of pain and rhapsodic writing in contemporary monologues: Bilis negra, El empapelado amarillo and Susurro |
| title_full |
A loneliness full of voices. The experience of pain and rhapsodic writing in contemporary monologues: Bilis negra, El empapelado amarillo and Susurro |
| title_fullStr |
A loneliness full of voices. The experience of pain and rhapsodic writing in contemporary monologues: Bilis negra, El empapelado amarillo and Susurro |
| title_full_unstemmed |
A loneliness full of voices. The experience of pain and rhapsodic writing in contemporary monologues: Bilis negra, El empapelado amarillo and Susurro |
| title_sort |
loneliness full of voices. the experience of pain and rhapsodic writing in contemporary monologues: bilis negra, el empapelado amarillo and susurro |
| description |
In 21st century theater, in the context of the crisis of modern drama, we find a proliferation of dramatic monologues that explore discursive and scenic possibilities to highlight, among other issues, the contemporary crisis in communication and the fragmentation and hybridity of identity. Experiments with the body alone on stage and with the voice in the first person problematize the self as a public intimacy and as a crossing of multiple voices.
Bilis negra. Teatro de autopsia (2015), by Convencion Teatro, El empapelado amarillo (de Charlotte Perkins Gilman) (2019-2021), by María Laura Caccamo and Carlos Lipsic, and Susurro (2020), by Estefanía Otaño, are monologues that explore rhapsodic writings –rewriting, phago-cytization, collage, generic hybridization– and experiment the pain of a woman’s self crossed by a plurality of voices. With these procedures of scenic writing, the experience of suffering, singular and non-transferable, becomes common: the borders between what is self and what is foreign are blurred in an inter-subjective affection.
Starting from an approach to the creative processes, the reading of theatrical texts and the analysis of theatrical performances, we will study the political power of the dramaturgy of monologues, insofar as they can be thought of as populated solitudes. |
| publisher |
Facultad de Filosofía y Humanidades |
| publishDate |
2022 |
| url |
https://revistas.unc.edu.ar/index.php/recial/article/view/37550 |
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