Electra Garrigó by Virgilio Piñera: The Oresteia Transfigured from the Replaced Psychology of the Tragic Farce
The present work sustains that the dramatic piece Electra Garrigó by Virgilio Piñera retakes the tragic argument from the Atreides myth developed in Aeschylus’ hypotext to turn the communicative intention of the tragic genre and update it in a work of hybrid structure and development that contains f...
| Autor Principal: | Basilio Medina, Alicia |
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| Formato: | Artículo |
| Idioma: | Español |
| Publicado: |
Instituto Tecnológico de Costa Rica
2023
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| Materias: | |
| Acceso en línea: |
https://revistas.tec.ac.cr/index.php/comunicacion/article/view/6576 https://hdl.handle.net/2238/14211 |
| Sumario: |
The present work sustains that the dramatic piece Electra Garrigó by Virgilio Piñera retakes the tragic argument from the Atreides myth developed in Aeschylus’ hypotext to turn the communicative intention of the tragic genre and update it in a work of hybrid structure and development that contains formal elements that belong to farce. We will explore how one of the mechanisms in the farce dramatic subgenre operates in Electra Garrigó; i.e., the substitution psychology of the characters, which manifests itself when the psychic facts are moved from one character that should execute them to another character completely opposed and viceverse. As a result, there is a modification in the moods of the characters. Therefore, the myth is transvalued to reflect upon the family, the genesis of society: the Atreides core family becomes the personification of fundamental attitudes from the Cuban bourgeoisie and even of the whole humanity. The dynamics of the Atreides family, a relationship system from which Electra will redeem Orestes and will be emancipated, is established through the freedom evasion mechanisms described by Erich Fromm. Through its formal and thematic constitution, the drama expresses Piñeira’s social concerns derived from the Cuban Neo-colony. |
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