Descubriendo los hilos de las marionetas: la influencia del teatro épico en La trampa de Buenaventura
DOI:
https://doi.org/10.17533/udea.elc.17349Abstract
En 1967, La trampa de Enrique Buenaventura es censurada por el gobierno por la obvia perspectiva materialista que es vista con recelo. Esta obra se basa supuestamente en la dictadura y el derrocamiento de Jorge Ubico, dictador de Guatemala (1931-1944) y se convierte en una crítica radical de una sociedad farsante y explotadora en la cual todos son cómplices del sistema opresivo. La obra presenta el ideario político del autor, inscrito en la tradición del teatro marxista lo que se observa en el empleo de estrategias brechtianas. En este ensayo examinaremos las adaptaciones de la teoría brechtiana para ver cómo Buenaventura reconfigura el teatro épico dentro del contexto Latinoamericano.
Descriptores: Buenaventura, Enrique; La trampa; Teatro épico; Brecht, Bertolt; Complicidad; Explotación; Cambio social radical; Dictador/dictadura; Ubico, Jorge.
Abstract: By 1967, Enrique Buenaventura´s play La trampa (The Trap) provoked the censorship of the Colombian government because of its obvious materialist perspective. La trampa, is loosely based upon the dictatorship and fall of Jorge Ubico, the dictator of Guatemala (1931-1944). Is is a farcical critique of society which finds no one innocent of exploitation within the social system and exemplifies not only Buenaventura's personal political conviction and commitment to social change, but also inserts itself within the tradition of Marxist drama by its employment of many Brechtian strategies for theater. This article will discuss the Buenaventura's specific application of Brechtian theory as he employs this tool for radical social change within the context of Latin America.
Key words: Buenaventura, Enrique; La trampa; Epic Theater; Brecht, Bertolt; Complicity; Exploitation; Radical social change; Dictador/dictatorship; Ubico, Jorge.
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