Publication: El problema de la verosimilitud en mi obra: compromiso contra ficción.
Authors
González Cruz, Luis Miguel
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Publisher
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DOI
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info:eu-repo/semantics/article
Description
Abstract
El artículo revela algunas claves del trabajo dra-
matúrgico de Luis Miguel González, del Teatro
del Astillero, a la vez que cuestiona algunos de-
rroteros de la práctica postdramática, en particular
de la autoficción. La piedra angular de su trabajo
escénico es el texto, la cración de un texto y lo que
ello implica de elaboración de un relato verosí-
mil. Elaboración que puede contener «hechos rea-
les» o partir de una «realidad documental», pero
cuyo objetivo es trascenderla y crear –textual y
escénicamente– espacios para la «verdad», desde
los que ser en el mundo y hablar al espectador.
Así como no dejarse atrapar por el compromiso
fácilmente entendido, que puede llegar a ser un
mecanismo letal para la ficción, por restarle valor
mítico a sus relatos.
The article reveals some keys to the dramaturgical work of Luis Miguel González, from the Teatro del Astillero, at the same time that he questions some paths of the postdramatic practice, in par- ticular of self-fiction. The cornerstone of his sta- ge work is the text, the creation of a text and this implies the elaboration of a credible story. Ela- boration that may contain «real facts» or from a «documentary reality», but whose goal is to trans- cend and create –textual and scenic– spaces for the «truth», from which to be in the world and speak to the viewer. Just as not being caught up in an easily understood commitment, which can become a lethal mechanism for fiction, by sub- tracting mythical value from their stories.
The article reveals some keys to the dramaturgical work of Luis Miguel González, from the Teatro del Astillero, at the same time that he questions some paths of the postdramatic practice, in par- ticular of self-fiction. The cornerstone of his sta- ge work is the text, the creation of a text and this implies the elaboration of a credible story. Ela- boration that may contain «real facts» or from a «documentary reality», but whose goal is to trans- cend and create –textual and scenic– spaces for the «truth», from which to be in the world and speak to the viewer. Just as not being caught up in an easily understood commitment, which can become a lethal mechanism for fiction, by sub- tracting mythical value from their stories.
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