Eurípides y la tragedia Hécuba transfigurados en Polixena y la cocinerita (1931), "farsa pirotécnica" de Alfonsina Storni
This article analyzes the poetics of the play Polixena y la cocinerita (1931), by Alfonsina Storni. It proposes to study how the author appropriates the tragedy Hecuba, by Euripides, through rewriting operations, and how she turns the famous playwright into a character.&am...
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Centro de Literatura Comparada
2020
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/boletinliteratura/article/view/4181 |
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I11-R92article-41812020-11-17T13:27:04Z Euripides and his Tragedy Hecuba transfigured into Polixena y la cocinerita (1931), a "pyrotechnic farse" by Alfonsina Storni Eurípides y la tragedia Hécuba transfigurados en Polixena y la cocinerita (1931), "farsa pirotécnica" de Alfonsina Storni Dubatti, Jorge Eurípides Hécuba Políxena Alfonsina Storni Modernización teatral Euripides Hecuba Polixena Alfonsina Storni Theatrical Modernization This article analyzes the poetics of the play Polixena y la cocinerita (1931), by Alfonsina Storni. It proposes to study how the author appropriates the tragedy Hecuba, by Euripides, through rewriting operations, and how she turns the famous playwright into a character. Polixena y la cocinerita is a relevant case of the theatrical modernization of Argentina in the 1930s. This modernization concerns, on one hand, formal aspects of the dramatic structure, and on the other, the semantic and thematic dimension of its representation of women as "modern slaves". While declaring fascination for men, the text denounces the apology of masculine values, sexism, classism and gender violence, which leads "the little cook" to suicide. It denounces the suffering of workers in a society of inequality. It also marks a politics of difference with respect to the past: it puts on the scene new roles for the "adventurous" woman, who seeks to "go out into the world" and establish herself in a (self) observation laboratory of social reality to produce knowledge and generate transformations. New roles that, along with discoveries and affirmations, reveal resistances, oppositions and difficulties in the project of building a new space for women in contemporary times. Este artículo reflexiona sobre la poética de la pieza teatral Polixena y la cocinerita (1931), de Alfonsina Storni. Se propone analizar cómo la autora se apropia de la tragedia Hécuba, de Eurípides, a través de operaciones de reescritura, y cómo convierte al célebre dramaturgo en personaje. Polixena y la cocinerita es un caso relevante de la modernización teatral argentina de los años ’30. Dicha modernización atañe, por un lado, a aspectos formales de la estructura dramática y, por otro, a la dimensión semántica y tematológica de su representación de la mujer como "esclava moderna". Al mismo tiempo que declara fascinación por el varón, el texto denuncia el machismo, el sexismo, el clasismo y la violencia de género, que conducen al suicidio a la "cocinerita". Denuncia el sufrimiento de los trabajadores y trabajadoras en una sociedad de la desigualdad. Además, marca una política de la diferencia respecto del pasado: pone en escena nuevos roles de la mujer "aventurera", que busca "salir al mundo" e instituirse en laboratorio de (auto)observación de la realidad social para producir conocimiento y generar transformaciones. Nuevos roles que, a la par que descubrimientos y afirmaciones, revelan resistencias, oposiciones y dificultades para construir un nuevo espacio de la mujer en la contemporaneidad. Centro de Literatura Comparada 2020-11-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.uncu.edu.ar/ojs3/index.php/boletinliteratura/article/view/4181 Boletín de Literatura Comparada; Vol. 2 No. 45 (2020); 17-38 Boletín de Literatura Comparada; Vol. 2 Núm. 45 (2020); 17-38 2683-8397 0325-3775 spa https://revistas.uncu.edu.ar/ojs3/index.php/boletinliteratura/article/view/4181/3023 Derechos de autor 2020 Boletín de Literatura Comparada |
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Boletín de Literatura Comparada |
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Dubatti, Jorge |
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Dubatti, Jorge Eurípides y la tragedia Hécuba transfigurados en Polixena y la cocinerita (1931), "farsa pirotécnica" de Alfonsina Storni Eurípides Hécuba Políxena Alfonsina Storni Modernización teatral Euripides Hecuba Polixena Alfonsina Storni Theatrical Modernization |
| author_facet |
Dubatti, Jorge |
| author_sort |
Dubatti, Jorge |
| title |
Eurípides y la tragedia Hécuba transfigurados en Polixena y la cocinerita (1931), "farsa pirotécnica" de Alfonsina Storni |
| title_short |
Eurípides y la tragedia Hécuba transfigurados en Polixena y la cocinerita (1931), "farsa pirotécnica" de Alfonsina Storni |
| title_full |
Eurípides y la tragedia Hécuba transfigurados en Polixena y la cocinerita (1931), "farsa pirotécnica" de Alfonsina Storni |
| title_fullStr |
Eurípides y la tragedia Hécuba transfigurados en Polixena y la cocinerita (1931), "farsa pirotécnica" de Alfonsina Storni |
| title_full_unstemmed |
Eurípides y la tragedia Hécuba transfigurados en Polixena y la cocinerita (1931), "farsa pirotécnica" de Alfonsina Storni |
| title_sort |
euripides and his tragedy hecuba transfigured into polixena y la cocinerita (1931), a "pyrotechnic farse" by alfonsina storni |
| description |
This article analyzes the poetics of the play Polixena y la cocinerita (1931), by Alfonsina Storni. It proposes to study how the author appropriates the tragedy Hecuba, by Euripides, through rewriting operations, and how she turns the famous playwright into a character. Polixena y la cocinerita is a relevant case of the theatrical modernization of Argentina in the 1930s. This modernization concerns, on one hand, formal aspects of the dramatic structure, and on the other, the semantic and thematic dimension of its representation of women as "modern slaves". While declaring fascination for men, the text denounces the apology of masculine values, sexism, classism and gender violence, which leads "the little cook" to suicide. It denounces the suffering of workers in a society of inequality. It also marks a politics of difference with respect to the past: it puts on the scene new roles for the "adventurous" woman, who seeks to "go out into the world" and establish herself in a (self) observation laboratory of social reality to produce knowledge and generate transformations. New roles that, along with discoveries and affirmations, reveal resistances, oppositions and difficulties in the project of building a new space for women in contemporary times. |
| publisher |
Centro de Literatura Comparada |
| publishDate |
2020 |
| url |
https://revistas.uncu.edu.ar/ojs3/index.php/boletinliteratura/article/view/4181 |
| topic |
Eurípides Hécuba Políxena Alfonsina Storni Modernización teatral Euripides Hecuba Polixena Alfonsina Storni Theatrical Modernization |
| topic_facet |
Eurípides Hécuba Políxena Alfonsina Storni Modernización teatral Euripides Hecuba Polixena Alfonsina Storni Theatrical Modernization |
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1800220617823223808 |
