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En torno al personaje histórico / Número coordinado por Beatriz Aracil Varón.
While the historical figure of Montezuma II has played a part in Mexican theatre since the early colonial period, the way he is dealt with as a person has been problematic: the resigned attitude of the great tlatoani in the face of the invader meant that he was ignored or criticised by dramatic authors, who instead acclaimed native resistance heroes (particularly Cuauhtémoc) in their attempt to contribute to the construction of the national identity, not only in the decades following Independence but also well into the 20th century. Contrary to this general attitude, though doubtlessly making use of elements already present in cultural tradition, in Moctezuma II, Sergio Magaña (1953) achieves a clear recovery and revaluation of the person for contemporary Mexico.
Tizoc, the tlatoani of México-Tenochtitlan (1481-1486), raises the problem of the theoretical role of historical characters in contemporary Mexican theatre, as a metaphorical actor for the duty to remember 1968 and the Tlatelolco massacre. We will see how Pablo Salinas uses the “anti-historical” character to imaginatively remember his own present in the theatre.
A new approach to the presence of the epic poem of the Araucans in literature and, specially, to the personage of Caupolicán. The issue that we present here is to approach the way in which all this epic poetry and mythology that involves a successful literary adaptation. The fundamental reason resides in the conversion of the historic character into a literary character.
Of all the novels that have focused on Lope de Aguirre’s controversial character, one of the most audacious and fascinating is Daimón, by Abel Posse. This article explores the creative process behind the makeup of the character. One part of the work deals with the particular relationship established between this resuscitated Aguirre and a tremendously agile and polymorphous historical context, which makes him an anachronistic vestige. Secondly, it proposes certain intertextual references that went towards the construction of Posse’s character: on the one hand the “official” chronicles of the historic Aguirre and, on the other, two basic prototypes from Argentinean literature, Facundo and Martín Fierro, the presence of whom is a symptom of the new trajectory of Abel Posse, more rooted in South America.
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