METATEATRO Y MNEMOTÉCNICA: CONVENCIONES POSMODERNISTAS EN EL OLVIDO ESTÁ LLENO DE MEMORIA, DE JERÓNIMO LÓPEZ MOZO
2007; Universidad de Los Lagos; Issue: 25 Linguagem: Inglês
10.4067/s0718-22012007000200007
ISSN0718-2201
Autores Tópico(s)Cinema History and Criticism
ResumoCombining the recuperative power of memory and the existentialist contexture of metatheatre, Jeronimo Lopez Mozo indistinguishably (con)fuses art and life in El olvido esta lleno de memoria (2002). Incapable of distinguishing between his profession as an actor and the roles he plays on the stage and reluctant to come to terms with the traumatic past of his exile following the civil war, the protagonist of the play, Edmundo Barbero, is a decentered and unfixed character. Like all postmodernist works, El olvido esta lleno de memoria centers on the problem of artistic representation, rejects the possibility of constructing an objective view of the world and categorically discards the notion of an absolute authority to reveal that the traditionally hierarchical relationship between the real and the fictive, past and present, and self and other has been irrevocably abolished
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