Feminización de personajes masculinos en dos montajes contemporáneos de tragedias griegasel Prometeo de Carme Portaceli y el Creonte de Miguel del Arco

  1. Cuevas Caballero, Marta 1
  1. 1 Universidad Pablo de Olavide
    info

    Universidad Pablo de Olavide

    Sevilla, España

    ROR https://ror.org/02z749649

Revue:
Cuadernos de filología clásica. Estudios griegos e indoeuropeos

ISSN: 1131-9070

Année de publication: 2023

Número: 33

Pages: 361-377

Type: Article

DOI: 10.5209/CFCG.79023 DIALNET GOOGLE SCHOLAR lock_openAccès ouvert editor

D'autres publications dans: Cuadernos de filología clásica. Estudios griegos e indoeuropeos

Objectifs de Développement Durable

Résumé

In Classical Antiquity, where theatre was an exclusively male sphere, there was a gender split: a male playwright wrote a female character, giving her a conventionalised speech in order to project, from a masculine perspective, the idea of femininity predominating in society. This character was later performed by a male actor, who embraced the contradiction of said female character showing a negative vision of patriarchal society. This article analyses a staging with a contemporary aesthetics, Prometeo (2010) by Carme Portaceli, and another one with a timeless aesthetics, Antígona (2015) by Miguel del Arco. In particular, emphasis is placed on studying the transgression of the dramatic conventions about gender in Greek tragedy, as well as the dramaturgical transformation of male characters into female ones, to observe what happens nowadays, and what is intended to be communicated on stage, when there are women playing traditionally masculine roles. This gender perspective can be used to modernise tragedy by adding a feminist and vindictive lens, as in Prometeo, or else the main character can be feminised in order to reformulate the gender conflict, underlining other ones, as in Antígona.

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La source de données: Dialnet