La literatura posdramáticaAngélica Liddell ("La casa de la fuerza" y la trilogía "El centro del mundo")

Laburpena

All through the 20th century, drama rebels against textual imperialism. Paradoxically, by freeing itself from those functional tasks related to drama, theatrical language recuperates its aesthetic possibilities, which in turn, gives birth to a series of open poetics that go beyond communication as a mimesis of dialogue or macrostructure. Angélica Liddell (Figueres, 1966) is a valuable source that enables us to rethink drama. Without her, it would be impossible to understand contemporary national theatre, and, after her incursion in the Festival d'Avignon, international drama as well. Among many other awards, she has received the National Drama Award (2012) and the Silver Lion at the Venice Biennale (2013). Although she is a multifaceted artist, Angélica stands out as a “master of the word” with an explicit poetic intention. From 2009, with La casa de la fuerza, and later, with her trilogy El centro del mundo (2013), she makes a qualitative leap forward: she leaves behind the idea of fable and heterogeneity triumphs over unity. While making reference to her initial trajectory, and to her last project, Ciclo de las resurrecciones (2015), this study focuses on the above mentioned pieces, “theatre with a minimum of dramaturgy” (Heiner Müller). Even today, these poetics have many detractors, accustomed to the immutability of the 19th century performances and ignorant of a different kind of heritage. Nevertheless, the awarding in 2012 of the National Dramatic Literature Prize to La Casa de la fuerza encourages us to think, not only of an intellectual transformation in performing strategies, but also of a social and political transformation...