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Cargando... Los Títeres de Cachiporrapor Federico García Lorca
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Lorca, buen conocedor del teatro clasico espanol y del teatro de titeres popular, rechaza en sus farsas dar al espectador cualquier ilusion de realidad. Los personajes que aparecen en la Tragicomedia son, pues, el producto de una simbiosis dramatica de un tipo a la vez humano y teatral. No se han encontrado descripciones de biblioteca. |
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Google Books — Cargando... GénerosSistema Decimal Melvil (DDC)862.62Literature Spanish and Portuguese Spanish drama 20th Century 1900-1945Clasificación de la Biblioteca del CongresoValoraciónPromedio:
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The play begins with a monologue by a character named Mosquito who explains what's going to be represented and interacts with the audience, talking about how their traveling troupe has fled from educated, phony audiences and is prepared to present this authentic piece of theater, where the characters drink real wine--not fake wine from cobweb-filled goblets--and bring pleasure to real people. The tragicomedy then unfolds: it's the story of a puppet in a world full of puppets, who arranges to marry a young lady and eventually comes to be discovered as nothing more than a puppet by his fellow puppets on stage. The unmasked puppet, Don Cristóbal, is a domineering and larger than life man who carries a big club and uses it to threaten and sometimes attack the inferior people who get in his way or say things he doesn't much care for. He reminded me a lot of Père Ubu, both because of his build (well-endowed in the gut area) and his penchant for violence and yelling. He sees señá Rosita and wants to marry her, which makes her father happy and her boyfriend Cocoliche upset. Rosita sees that she lacks autonomy (as a person) and goes along with the marriage because there's nothing else she can do. She argues with her father about the marriage, but she soon gives in. Don Cristóbal, meanwhile, visits the town tavern and then gets a haircut. The barber is the one who notices that his head's made not of flesh but of wood, not even well-painted wood, which he finds strange and funny. Later, on the day of Don Cristóbal and señá Rosita's marriage, the bombastic groom is stabbed by Currito, the sailor who courted Rosita in the past and returned to town to find her on the verge of marriage. Once he's dead, Cocoliche looks him over and finds him to be a puppet, and Rosita is greatly affected by the whole thing.
It's hard for me to imagine what seeing a production of Lorca's puppet theater might have been like, especially in a world filled with televisions and cinema multiplexes and so many other easy ways to consume imagined stories represented by actors or visual artists. Puppets seem almost inherently silly, and it's hard for me to imagine a serious author like Lorca constructing a story about puppets that asks serious existential questions about the reality of theater and theatrical representations of real people. He did, though, and it pleased both the child in me who is amused by slapstick humor and comically menacing adults who wield clubs, and the adult who likes reading complicated works of theater that play with concepts of reality. Maybe this could be re-made for TV, with robots taking the place of puppets: a group of characters played by robots could interact, and eventually one of the characters is found by his fellow robots to be nothing more than a robot. How shocking!
If I imagine myself more than ninety years ago seeing Don Cristóbal unmasked as nothing more than a poorly painted wooden puppet, it seems like it would have been a tremendously satisfying experience; reading the play in 2011 was a lot of fun, and I'm ready to move on to some more works of theater by Lorca. ( )