Bertolt Brecht, Kurt Weill y la Guerra de Malvinas en una pieza teatral de Abelardo Castillo
This article studies the presence of compositions by Bertolt Brecht and Kurt Weill (Die Dreigroschenoper, 1928, and Das Berliner Requiem, 1929) in the play El Señor Brecht en el Salón Dorado (1982), by Abelardo Castillo, considered unavoidable reference in the history of the reception of Brecht- Wei...
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| Formato: | Online |
| Lenguaje: | spa |
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Centro de Literatura Comparada
2019
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/boletinliteratura/article/view/2185 |
| Sumario: | This article studies the presence of compositions by Bertolt Brecht and Kurt Weill (Die Dreigroschenoper, 1928, and Das Berliner Requiem, 1929) in the play El Señor Brecht en el Salón Dorado (1982), by Abelardo Castillo, considered unavoidable reference in the history of the reception of Brecht- Weill in the Argentine theater. From the perspective of Comparative Poetics (Comparative Theater area), the intertextuality of Brecht-Weill is analyzed in the structure of the piece, as well as its relationship with various abstract poetics (liminal theater, site specific, critical realism, theatricality, expressionism). It is maintained that the texts of Brecht-Weill, resemantized, allow Castillo to compare and connect supraterritorially the Germany of 1940 and the Argentina of the dictatorship and the Malvinas War by the experience of horror. The poetics of Castillo and his intertexts of Brecht-Weill are analyzed as representation (R. Chartier) and as an epistemological metaphor (U. Eco). |
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