Mi hijo sólo camina un poco más lento: entre callejones sin salida y el amor como respuesta
Based on Erving Goffman dramaturgic perspective of daily life and the study of scenic languages carried out by Beatriz Trastoy and Perla Zayas de Lima, this work explores the different resources used in the play “Mi hijo solo camina un poco más lento” by Ivor Martinić, in order to envisage how Guill...
Guardado en:
| Autores principales: | , |
|---|---|
| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
| Publicado: |
Facultad de Filosofía y Letras, Universidad de Buenos Aires
2016
|
| Materias: | |
| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/3164 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=3164_oai |
| Aporte de: |
| Sumario: | Based on Erving Goffman dramaturgic perspective of daily life and the study of scenic languages carried out by Beatriz Trastoy and Perla Zayas de Lima, this work explores the different resources used in the play “Mi hijo solo camina un poco más lento” by Ivor Martinić, in order to envisage how Guillermo Cacace, the director of the play, allows us to participate into a fictional world that, both at the same time, separates and endears us to the theatrical fact just to make us think of the theatre of life itself. On their stage life, characters find themselves subordinated to the drama of their daily roles, just like people with their daily life. We believe that this is the point where the universality of this staging resides. |
|---|