Cesar Brie: rubricas sobre rapsódia, dialogismo, intertextualidade e coralidade

Abstract

This research investigates and collates four dramatic texts by César Miguel Brie: El mar en el bolsillo ([1989] 2013b), La Ilíada ([2000] 2013a), Otravez Marcelo ([2005] 2013a) and Karamazov ([2011] 2017). Such texts were chosen, at first, due to the time gap among them, which allowed us to compare the recurrent features in the author's poetic production, as well as its progression in the presence of political themes and in its textual performance, above all, in the rhapsody of others authors: Fernando Pessoa, Homero, Marcelo Quiroga Santa Cruz and Fiódor Dostoiévski, respectively. Each play presents singular elements that make its study the most opportune within writer’s vast dramatic bibliography. On one hand, we resort to a theoretical corpus composed by authors who reflect upon contemporary dramaturgy, such as Jean-Pierre Sarrazac, with the concepts of rhapsody and chorality. On the other hand, we take into consideration the assumptions that try to characterize the forms of creation of contemporary novel, such as reinventiveness and hybridism, in dialogue with features already present in the modern novel, such as uncanonicity, dialogism and intertextuality. Therefore, the (re) configuration of drama as a genre from the irruption of the novel in theater is analyzed, as well as the power of this (re) configuration in bringing relevant political themes to the text and stage, which generate discursivities, images and performances whose fulcrums are in the revision of the hegemonic history and in the confrontation with the truths.