Abstract:Cristóbal de virués's La gran Semíramis features characters, images, and ideas that may be interpreted as grotesque. Recognizing this potential in the text, director Diego Chiri integrates visual and conceptual elements of this aesthetic into his 2015 Repertorio Español production of the play. In fact, three different types of grotesque are evident in the text and in Chiri's production, and all of them help to reconcile opposing, apparently contradictory ideas in the work. The ambivalent, simultaneous repulsion and attraction prompted by the abject, as conceived by Julia Kristeva, helps sustain in tension divergent views of the characters. Images and actions are subjected to processes of distortion, transformation, degradation, and parody, in the spirit of Mikhail Bakhtin's grotesque realism. The playwright and director reveal the machinations of power to be grotesque when wielded by vile sovereigns, as defined by Michel Foucault, and sanctioned by weak-minded administrators. An analysis of the Roman chronicles of Semiramis from which virués draws his action reveals how, contrary to his sources, he has chosen to magnify the alleged controversial aspects of her persona to the extent that they overshadow her heroism. virués's treatment of material from classical historians Diodorus and Justinus is characterized by the simultaneity of different modes of interpreting and representing the body and sexuality, and suggests that he participates in the processes of distortion and degradation that have typified the production of the Semiramis myth, itself grotesque, throughout the centuries.

中文翻译：

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维鲁埃斯的怪诞剧院：从罗马编年史到纽约舞台的审问 La gran Semiramis

摘要：Cristóbal de virués 的 La gran Semíramis 以可能被解释为怪诞的人物、图像和思想为特色。意识到文本中的这种潜力后，导演 Diego Chiri 将这种美学的视觉和概念元素融入了他 2015 年的西班牙剧集制作中。事实上，三种不同类型的怪诞在文本和千里的作品中都很明显，它们都有助于调和作品中对立的、明显矛盾的想法。由 Julia Kristeva 构想的由卑鄙的人引发的矛盾的、同时的排斥和吸引，有助于在紧张的情况下维持人物的分歧观点。在米哈伊尔·巴赫金 (Mikhail Bakhtin) 怪诞现实主义的精神下，图像和行为会经历扭曲、转变、退化和模仿的过程。剧作家和导演揭示了当由米歇尔·福柯定义的邪恶主权者使用并受到弱智管理者的制裁时，权力的诡计是荒谬的。对塞米拉米斯的罗马编年史的分析揭示了他的行为，与他的消息来源相反，他选择放大她的人格中所谓的有争议的方面，以至于它们掩盖了她的英雄主义。virués 对古典历史学家 Diodorus 和 Justinus 材料的处理的特点是同时解释和表现身体和性的不同模式，并表明他参与了扭曲和退化的过程，这些过程代表了塞米拉米斯神话本身的产生荒诞，历经百年。