Abstract:This study argues that Norge Espinosa’s play Ícaros (2003) unpacks the longstanding, post-revolutionary Cuban connections among education, self-aware citizenship, and egalitarian ideals. In a contemporary version of the Icarus myth, Espinosa’s play stages the failed project of an older generation (embodied in three Dédalos) to create a new kind of super being through their offspring—the play’s six Ícaros, charged with achieving their creators’ unfulfilled ideals. Here the Dédalos-Ícaros myth, coupled with the modern superhero identities assigned to each Ícaro, enacts the pitfalls such projects activate and evokes comparisons with the revolutionary “new man” envisioned by Che Guevara, a version of such utopian ventures rooted in a Cuban audience’s cultural memory. Against the historical backdrop of a state pedagogy forged through the renowned 1961 post-revolutionary literacy campaign and institutionalized for decades throughout Cuba’s public education system, the teacher-student dynamic constituted an idealized workshop for creating such a “new man” and for empowering citizens through social change. In this context, Espinosa’s play de-mythifies the lingering ideal of the Revolution’s pedagogy as a path to social utopia, while at the same time reenergizing the concept of human education as an expansive intellectual adventure of the kind conceptualized by contemporary cultural theorist Jacques Rancière. Through the dynamic relationship between the six Ícaros and their protean teacher, Ariadna, the play juxtaposes the timeworn pedagogic practices that Ranciére would call “stultifying” with Ariadna’s simultaneous efforts to promote the Ícaros’ discovery of their own intellectual powers.

中文翻译：

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诺斯·埃斯皮诺萨的伊卡洛斯解放理论

摘要：这项研究认为，诺斯·埃斯皮诺萨（Norge Espinosa）的戏剧《伊卡洛斯》（Carlos）（2003）揭示了古巴革命后长期以来在教育，具有自我意识的公民身份和平均主义理想之间的联系。在伊卡洛斯神话的当代版本中，埃斯皮诺萨的戏剧演出了上一代失败的项目（体现在三个代达洛斯人身上），以通过其后代创造一种新的超级存在-戏剧的六个伊卡洛斯，旨在实现其创造者的未实现理想。在这里，Dédalos-Ícaros神话与分配给每个Ícaro的现代超级英雄身份共同作用，使这些项目陷于陷阱，并唤起人们与Che Guevara设想的革命性“新人”的比较，Che Guevara设想了这种类似乌托邦式冒险的形式，其根植于古巴观众文化记忆。在历史悠久的背景下，通过著名的1961年革命后扫盲运动建立了国家教学法，并在整个古巴的公共教育系统中建立了几十年的体制，师生力量构成了一个理想的讲习班，以创建这样的“新人”并通过社会变革。在这样的背景下，埃斯皮诺萨的戏剧使革命的教学方法的根深蒂固的神话化为通往社会乌托邦的道路，同时又重新激发了人类教育的观念，使之成为当代文化理论家雅克·兰西埃（JacquesRancière）概念化的一种广泛的智力冒险。通过六个Ícaros和他们的精通老师Ariadna之间的动态关系，