Abstract In Santiago de Compostela, La Alameda is a place frequented by students and tourists. The passerby discerns within the crowd a statue of two small women, arm in arm, dressed in bright colors and wearing extravagant make up. “As dúas Marías,” Maruxa and Coralia Fandiño, were two sisters who were brought up in a family of anarchist leaders of the CNT. With the arrival of the civil war and the dictatorship, the illusion created by the government of the Republic and the drafting of the Statute of Autonomy was soon transformed into silence and reprisals. The Fandiño men managed to flee, but the women remained in the house and were victims of torture and rape. Their only defensive mechanism was the solidarity between them and the embracing of madness. Thus it became a daily event in Santiago: at two o’clock in the afternoon, Maruxa and Coralia went out for a walk, dressed in bright colors and flamboyantly make up to compliment the students. Voaxa e Carmín by Esther F. Carrodeguas recreates one of those walks. This article will focus on how the inner exile of the protagonists is revealed, that is, their loneliness, their fear, their isolation, through the strategies of the theater of the absurd, and the metatheater. These resources include the use of the mask, the exchange of roles and the repetitive language.

中文翻译：

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El exilio internal y sus máscaras: Voaxa e Carmín de Esther F. Carrodeguas

摘要 在圣地亚哥德孔波斯特拉，阿拉米达是学生和游客经常光顾的地方。路人在人群中辨认出一尊小女人的雕像，手挽手，穿着鲜艳的衣服，化着奢华的妆。“作为 dúas Marías”，Maruxa 和 Coralia Fandiño 是两个姐妹，她们在 CNT 的无政府主义领导人家庭中长大。随着内战和独裁统治的到来，共和国政府和起草自治法所造成的幻想很快就变成了沉默和报复。Fandiño 男子设法逃离，但妇女仍留在屋内，成为酷刑和强奸的受害者。他们唯一的防御机制是他们之间的团结和疯狂的拥抱。因此，它成为圣地亚哥的日常活动：下午两点，Maruxa 和 Coralia 出去散步，穿着鲜艳的衣服，化着艳丽的妆来恭维学生。Esther F. Carrodeguas 的 Voaxa e Carmín 重现了其中的一次散步。本文将重点探讨如何通过荒诞剧场和元剧场的策略揭示主角的内心流放，即他们的孤独、恐惧、孤立。这些资源包括面具的使用、角色的互换和重复的语言。和元剧院。这些资源包括面具的使用、角色的交换和重复的语言。和元剧院。这些资源包括面具的使用、角色的互换和重复的语言。