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Disappearing Acts, or the Absent Character in the Plays of Elena Garro
Latin American Theatre Review Pub Date : 2016-01-01 , DOI: 10.1353/ltr.2016.0004
Sandra Messinger Cypess

Walter Benjamin’s ideas concerning the incommunicability of experiences suggest that there are events for which those involved cannot find listeners capable of comprehending their experiences. When such moments of incommunicability occur in Elena Garro’s dramatic world, many of her characters simply disappear from the scene. This article examines the dramatic function of disappearance in four of Garro’s plays, illustrating that there is no one way for characters to withdraw. El Encanto, Tendajón mixto, for example, depicts the rare occasion in which a character is fortunate enough to find a companion who leads him to a more amenable existence, while others, like Titina in Andarse por las ramas, absent themselves by choice. In all of the plays examined, Garro imparts her vision of how incommunicability affects interactions and often harms individuals.

中文翻译:

消失的行为或埃琳娜·加罗(Elena Garro)戏剧中的缺席角色

沃尔特·本杰明(Walter Benjamin)关于经验的不可沟通性的思想表明,在某些事件中,所涉人员无法找到能够理解其经历的听众。当埃琳娜·加罗(Elena Garro)的戏剧性世界发生这种不可沟通的时刻时,她的许多角色便从场景中消失了。本文考察了加罗(Garro)的四部戏剧中消失的戏剧性功能,阐明了没有一种撤消角色的方法。例如,《恩达托》(《Tendajónmixto》)描述了一个罕见的场合,在这个场合中,一个角色很幸运地找到了一个陪伴他,使他拥有更舒适的生活,而其他人(如《铁腕》中的蒂蒂娜(Titina))则选择了自己。在所有的戏剧中,
更新日期:2016-01-01
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