Abstract:Virgilio Piñera is widely recognized as one of the pioneers of absurdism in Cuba, but his place within the broader global tradition of the Theatre of the Absurd remains contested. Piñera wrote his seminal play Falsa alarma in 1948, prior to the opening of Eugène Ionesco's La cantatrice chauve, but he expanded the text by incorporating a number of prototypically absurd passages on the occasion of the play's first run in 1957. In comparing the original Falsa alarma with the revised version, this article attempts to settle the lingering question of Piñera's status as progenitor of the absurd by charting his stylistic evolution and exploring his connections to the intellectual circuits of that time period.

中文翻译：

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“ Danubio”作品集：维尔吉里奥·皮涅拉（VirgilioPiñera）和修正主义荒诞派

摘要：维吉里奥·皮涅拉（VirgilioPiñera）被公认为是古巴荒诞派的先驱者之一，但他在荒诞派剧院更广泛的全球传统中的地位仍存在争议。皮涅拉（Piñera）在欧仁·尼奥斯科（EugèneIonesco）的《 La cantatrice chauve》开幕之前，于1948年撰写了开创性的剧集《福尔萨·阿尔玛》，但他在1957年该剧的首次上演之际，结合了一些原型上荒唐的段落，从而扩大了文本的范围。通过修订版本的“警钟”，本文试图通过绘制皮涅拉的风格演变图并探索其与那个时期的知识分子之间的联系，来解决皮涅拉作为荒谬祖先的地位这一挥之不去的问题。