Renata Londero

La historia y el arte según López Mozo, a través de Kantor: La Infanta de Velázquez (1999)

Introduction

La historia y el arte según lópez mozo, a través de kantor: la infanta de velázquez (1999). Análisis de 'La Infanta de Velázquez' (1999) de López Mozo. Vincula con Velázquez, Buero Vallejo y el Teatro de la Muerte de Kantor, explorando historia, memoria y trauma.

Abstract

Se analiza el drama La Infanta de Velázquez (1999) de Jerónimo López Mozo, a partir de su estrecha relación intersemiótica e intertextual con Las Meninas (1656) de Diego Velázquez, con la homónima pieza de Antonio Buero Vallejo (1960), y, sobre todo, con el Teatro de la Muerte de Tadeusz Kantor, uno de los dramaturgos y artistas mejor conocidos y más apreciados por López Mozo. A través de un complejo entramado metateatral, el texto recorre tres siglos y medio de historia europea (1656-1999), marcada por las guerras y la violencia, y contiene hitos fundamentales del teatro de la memoria: la coexistencia de recuerdos personales y hechos históricos, de víctimas y verdugos; los saltos espacio-temporales; la intervención de muertos y fantasmas; la centralidad de los seres desdichados y descuidados; la atormentada reelaboración de los traumas.

Review

This paper proposes a compelling analysis of Jerónimo López Mozo's drama, *La Infanta de Velázquez* (1999), through an intertextual and intersemiotic lens. The core strength of the study lies in its ambition to meticulously trace the play's dialogue not only with Diego Velázquez's iconic painting *Las Meninas* and Antonio Buero Vallejo's homonymous piece but, crucially, with the profound influence of Tadeusz Kantor's Theatre of Death. This approach promises to shed new light on López Mozo's creative process and his engagement with foundational theatrical traditions, offering a fresh perspective on a significant work within contemporary Spanish drama. The abstract articulates a robust analytical framework, highlighting the play's complex metatheatrical structure as it traverses three and a half centuries of European history, from 1656 to 1999, specifically examining themes of war and violence. The paper intends to delve into key elements of the 'theatre of memory,' including the intricate interplay of personal and historical recollections, the dynamic between victims and perpetrators, and the strategic use of spatio-temporal shifts. Furthermore, the analysis will explore the poignant intervention of the dead and spectral figures, the centrality of marginalized characters, and the agonizing re-elaboration of historical traumas. These specific points of investigation indicate a detailed and insightful exploration of López Mozo's dramaturgical techniques and thematic concerns. The proposed study appears well-positioned to contribute significantly to scholarship on López Mozo, Spanish theatre, and the broader application of Kantor's theories. By emphasizing the 'Teatro de la Muerte' as a primary interpretative framework, the paper is poised to uncover specific dramaturgical echoes and philosophical parallels that might have previously been overlooked. This detailed comparative analysis, particularly concerning the mechanics of historical representation and memory in theatre, is a timely and valuable endeavor. The exploration of how a contemporary Spanish play reinterprets artistic and historical legacies through such a potent theoretical lens holds considerable promise for enriching our understanding of the performative representation of trauma.

Full Text

Comments

You need to be logged in to post a comment.