Acceso usuarios
Nidia Vincent Ortega
El presente artículo tiene como propósito acercarse al monólogo, forma teatral poco atendida por la crítica y cuya presencia e importancia en la escena actual va en ascenso. Para ello, se revisarán algunos presupuestos y rasgos del monólogo teatral y se hará un rápido recorrido por su desarrollo en el teatro occidental; se pondrá énfasis en el monólogo como obra autónoma a partir del monodrama realista de Strindberg u O’Neill y los aportes del teatro del Absurdo. Asimismo, se revisará resumidamente su evolución en México, desde el teatro novohispano hasta la actualidad para, finalmente, enfocarse en la obra Divino Pastor Góngora (2001) del dramaturgo mexicano Jaime Chabaud (n. 1966), uno de los autores de la llamada “Generación de los sesenta”. Divino Pastor Góngora es un monólogo ambientado en el siglo XVIII en la Nueva España, que trata sobre el desafortunado destino de un actor que ha caído en manos de la justicia y desde su encierro da a conocer su historia y escenifica un sainete. La obra se analizará por su estructura, sus múltiples personajes y estrategias monologales, además de comentar elementos de metateatralidad, humor e intertextualidad.
The purpose of this article is to approach the monologue, a theatrical form hardly addressed by the critics and whose presence and importance in the current scene is increasing. To reach this objective, some prejudices, obvious ideas and characteristics of the theatrical monologue, as well as the terms to which the monologue is associated (soliloquy, aparte, unipersonal, monodrama, stand-up), are reviewed. Subsequently, a brief revision of the evolution of this genre in the Western theater is made, with an emphasis on the monologue as an autonomous work since the introduction of the realistic monodrama by Strindberg and O’Neill, and the contributions of the Theater of the Absurd. Likewise, the evolution of the monologue in Mexico from the colonial period to the contemporary times is briefly reviewed. In the last section the paper focuses on Jaime Chabaud’s play Divino Pastor Góngora (2001). Chabaud (1966) is a Mexican playwriter, member of the so-called “Generation of the 60s”. His Divino Pastor Góngora is a monologue set in the eighteenth century in the Viceroyalty of New Spain. Divino Pastor, the protagonist, is an unfortunate actor who has fallen into the hands of the justice, and from his confinement he reveals his history and performs a sainete. The analysis presented in this paper concerns the structure of the play, its multiple characters and monologue strategies, as well as its metatheatricality, humor and rich intertextuality.
