El teatro cruel de Matias Montes Huidobro.
Item
-
Title
-
El teatro cruel de Matias Montes Huidobro.
-
Identifier
-
AAI9946160
-
identifier
-
9946160
-
Creator
-
Falcon Paradi, Aristides.
-
Contributor
-
Adviser: Marlene Gottlieb
-
Date
-
1999
-
Language
-
Spanish
-
Publisher
-
City University of New York.
-
Subject
-
Literature, Latin American | Theater | Literature, Caribbean
-
Abstract
-
The purpose of this thesis is to study the dramatic works of Cuban-born Matias Montes Huidobro in relation to the theories of Antonin Artaud as developed in his crowning work, The Theater and Its Double. Montes Huidobro is one of the first Hispanic American playwrights to experiment with Artaud's theories before they became well-known throughout the American continent. The thesis demonstrates that in his fifty years of dramatic creation Montes Huidobro has reached that "essentially dramatic Hispanic American aesthetic" (Schmidhuber, "Apologia" 29) without reliance upon ideological sectarianism, and thus has been able to direct his theater to the total, metaphysical man. In so doing he has achieved a theater rooted in a deep universality.;A number of historical vicissitudes affecting the playwright's life serve to divide, consciously or not, his dramatic production into three stages: The first covers the 1950s until the triumph of the Revolution. It is marked by the struggle between escapism and modern consumerism. The second, from 1959 to 1961, culminates with the departure and exile of the playwright. It is characterized by the dichotomy of initially supporting and later retracting from the Revolution. The third stage from 1961 to the present takes place in the United States. It deals with the difficult condition of living in exile and the nexus to other continental influences.;One of the fundamental characteristics of Montes' theater from its inception has been a constant interest in the renovation of dramatic form and content. He reiterates his fondness for experimentation with dramatic time, scenic space, the semiotics of lighting, theater within theater, and ritualized language, among other elements. He balances gesture, movement, and lighting, all of "which constitute scenic language par excellance" (Artaud 123) with the word, which manifests itself as "necessity".;The contributions of Artaud's theories to the American continental stage have hardly been studied. The overabundance of Brechtian studies prevalent because of their ideological emphasis since 1959---obviously on the wane in recent years---substantially eclipsed Artaudian theoretical contributions in the American continent in this century. This thesis attempts to address this imbalance.
-
Type
-
dissertation
-
Source
-
PQT Legacy CUNY.xlsx
-
degree
-
Ph.D.
