El vínculo entre sexualidad y violencia en el teatro de Angélica Liddell

dc.contributor
Universitat Autònoma de Barcelona. Departament de Filologia Espanyola
dc.contributor.author
Topolska, Ewelina Maria
dc.date.accessioned
2014-04-25T11:23:30Z
dc.date.available
2014-04-25T11:23:30Z
dc.date.issued
2014-02-13
dc.identifier.isbn
9788449043109
cat
dc.identifier.uri
http://hdl.handle.net/10803/133344
dc.description.abstract
Angélica Liddell’s surge to (relative) fame in recent years (a process which began in 2000, peaking around 2008/09) resulted in an increasing number of articles being published about her theatre, not to mention a significant number of interviews she gave for the Spanish and international press. There is also a doctoral thesis by Ana Vidal Egea concerning Atra Bilis’ (the name of Liddell’s group) work. However, no existing study engaged in detailed analysis of the artist’s theatrical production with the special focus on what is the most important and recurring topic in her work, that is sexuality and its immediate connection with violence. In order to explore this link from various angles, but at the same time with due precision, I have chosen seven plays from Liddell’s much richer literary output. The plays enclosed in the series Triptych of Affliction (Tríptico de la Aflicción), that is The Palavrakis Marriage (El matrimonio Palavrakis), Once upon a Time in West Asphixia and Hysterica Passio, explore the perversities and abuses that take place within families, with incest and sexual murder as leitmotifs. These plays were clearly inspired by psychoanalysis, which is why I dedicate extensive passages to demonstrating links between the two. Later I pass on to the study of war-related sexual abuse as exemplified in As She did not Rot…Snowhite (Y como no se pudrió… Blancanieves) and Belgrade. Let the Tongue Sing the Mystery of The Glorious Body (Belgrado. Canta lengua el misterio del cuerpo glorioso), in order to finish the dissertation with a chapter on the openly autobiographical I’m not Pretty (Yo no soy bonita) and The House of Force (La casa de la fuerza). Given that all Liddell’s plays include, whether narrated directly or transformed into fiction, elements of her personal life, in the opening chapter I have offered the reader a more systematized outline of the artist’s biography. Also, I dedicate some paragraphs to the premises that lead her in her work and to the post-dramatic features with which Liddell’s shows are replete. In addition to falling into the category of post-dramatism, Liddell’s shows may be classified as 'in-yer-face' theatre, as well as art therapy. I have proposed the latter label because Liddell apparently finds relief in reprocessing her personal experiences on stage, but also offers a kind of collective therapy – she insists on recognizing and revealing the, very often silent and for that reason easily dismissed, suffering of victims of sexual violence and psychological abuse. Liddell talks about very important questions of male-female-child power imbalance and the ensuing abuse, but she does not offer any realistic solutions to the problem. However, this lack of hope for change is consistent with the particular brand of biological determinism the artist professes, which, I dare say, is more fundamentalist than that favoured by many scientists. She perceives human beings as animals whose behaviour does not vary much from those of our cousins, the chimpanzees, thereby rendering culture merely a comfortable cloak under which to hide our basest impulses, desires and actions. Just as in modern evolutionary science, in Liddell’s art everything is driven by the urge to have sexual contacts (and, in some cases, necessarily reproduce), as according to Liddell our civilisation did not significantly alter this animalistic core of human nature (which remains animalistic just as does the nature of every animal species).
eng
dc.format.extent
344 p.
cat
dc.format.mimetype
application/pdf
dc.language.iso
spa
cat
dc.publisher
Universitat Autònoma de Barcelona
dc.rights.license
ADVERTIMENT. L'accés als continguts d'aquesta tesi doctoral i la seva utilització ha de respectar els drets de la persona autora. Pot ser utilitzada per a consulta o estudi personal, així com en activitats o materials d'investigació i docència en els termes establerts a l'art. 32 del Text Refós de la Llei de Propietat Intel·lectual (RDL 1/1996). Per altres utilitzacions es requereix l'autorització prèvia i expressa de la persona autora. En qualsevol cas, en la utilització dels seus continguts caldrà indicar de forma clara el nom i cognoms de la persona autora i el títol de la tesi doctoral. No s'autoritza la seva reproducció o altres formes d'explotació efectuades amb finalitats de lucre ni la seva comunicació pública des d'un lloc aliè al servei TDX. Tampoc s'autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant als continguts de la tesi com als seus resums i índexs.
dc.source
TDX (Tesis Doctorals en Xarxa)
dc.subject
Teatro
cat
dc.subject
Violencia
cat
dc.subject
Sexualidad
cat
dc.subject.other
Ciències Humanes
cat
dc.title
El vínculo entre sexualidad y violencia en el teatro de Angélica Liddell
cat
dc.type
info:eu-repo/semantics/doctoralThesis
dc.type
info:eu-repo/semantics/publishedVersion
dc.subject.udc
79
cat
dc.contributor.authoremail
etopola@yahoo.com
cat
dc.contributor.director
Torras Francés, Meri
dc.contributor.director
London, John
dc.embargo.terms
cap
cat
dc.rights.accessLevel
info:eu-repo/semantics/openAccess


Documentos

emt1de1.pdf

2.725Mb PDF

Este ítem aparece en la(s) siguiente(s) colección(ones)