The Dynamic Writing of Mario Bellatin: from Text to Theater and Theater to Text
Towards the end of XXth century and the beginning of the XXIst in Latin America, narrative texts are produced which respond to the search for a relationship between literature and art (both inside texts and outside them). In this relationship, the body has a fundamental role. This paper aims at anal...
- Autores:
- Tipo de recurso:
- http://purl.org/coar/resource_type/c_6776
- Fecha de publicación:
- 2018
- Institución:
- Universidad Pedagógica y Tecnológica de Colombia
- Repositorio:
- RiUPTC: Repositorio Institucional UPTC
- Idioma:
- spa
- OAI Identifier:
- oai:repositorio.uptc.edu.co:001/12746
- Acceso en línea:
- https://revistas.uptc.edu.co/index.php/la_palabra/article/view/8168
https://repositorio.uptc.edu.co/handle/001/12746
- Palabra clave:
- Literature
Mise-en-scène
Performatic bodies
Third body
Bellatin
Literatura
Puesta en escena
Cuerpos performáticos
Tercer cuerpo
Bellatin.
- Rights
- License
- Derechos de autor 2018 LA PALABRA
| Summary: | Towards the end of XXth century and the beginning of the XXIst in Latin America, narrative texts are produced which respond to the search for a relationship between literature and art (both inside texts and outside them). In this relationship, the body has a fundamental role. This paper aims at analyzing Mario Bellatin ́s La escuela del dolor humano de Sechuán [The Szechuan School of Human Suffering] (2005) and Poeta ciego [Blind Poet] (2010) by considering the figure of mise-en-scène. In its displacement into literary writing, this figure is understood as the arrangement of the stage-like space where characters perform cultural, ritual and theatrical actions through a particular narrative voice. Finally, the mise-en-scène stages performatic bodies as well as a “third body”, using Esposito ́s term, which remains outside enunciation |
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