Conaculta and Politics and Literature: The gesticulador
Sunday, August 8, 2010
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The gesticulador Usigli Rodolfo is in theaters. In the series of the literature of the Mexican Revolution, reviewed by Antonio Castro Leal and published in two volumes legendary Aguilar, the playwright should be a place of honor, but the work cited refers only to the novel, then we are missing the third time studies of that peculiar power of its own, which starts with The
beneath Mariano Azuela and has not exhausted the fascination with the epic motion. Unfortunately, the dazzling novels inspired by the Revolution, have left little space for the theater. The gesticulador is not the revolutionary era, as Felipe Angeles Elena Garro, but some of the results of the movement and institutionalized. Usigli is the pinnacle of Mexican drama in this work was censored and sharp criticism, shows the falsity of Mexican politics, the ease with which the politician lies, the tricks used to ascend to power, the simulation. There are traitors, liars, the "revolutionary" without ideals, a tragic story that has been repeated without fatigue among us Mexicans. Few escape the Usigli central thesis: the movement degenerated into farce. If, Azuela, Magdaleno, Munoz, Guzman were real heroes in this play what prevails is the ambitious man who has discovered that its ability to deceive and knowledge can come to power. Retains an idealistic sentiment among its goals is to do good, who plays heroic dream César Rubio, treacherously murdered namesake general.
The plot is clever and striking that has made Rudolph Usigli a work whose content is severe, especially considering that the work is seventy-year-old. If today the political bureaucracy does not tolerate criticism, I do not imagine what it was at the premiere. Casas Argentina Olloqui, wife of the playwright, in an autobiography, My Life with Rodolfo Usigli , writes the political results of the staging of a seminal work: "... Rodolfo lost his job because he resigned from the chief of theater Fine Arts for its part could be represented and they all jumped him, insulted, beaten, and for a year and a half spent hunger and misery. "This despite the initial success. The work was not only technically innovative but it was too much for the political bureaucracy of the time when censorship was visible and monstrous. Today it seems that censorship has disappeared, at least say no more out of Los Pinos, which is lounging on other sites, some media who treasure their political interests and children. Times have been changed. In the first stage of the literature of the Revolution, where they talk of major combat, we walked to the complaint about the outcome of the quest. We gesturing town, charlatans and demagogues. Politics is a quagmire. From tragedy to farce. In literature, it was Jorge who with
Ibargüengoitia August Lightning
made the turn and made the satire of the genre. Carlos Fuentes novels we presented initial decline of the movement: a new bourgeoisie away from greatness and a political class authoritarian, despotic and corrupt. The gesticulador Usigli is a major work because it remains the perfect picture or metaphor of national policy. Great literature is often the best satire of a system like ours. There has been criticism more ruthless than, say, Shadow of the Caudillo
of Martin Luis Guzman. Neither story so drastic revolutionary excesses as the work of Rafael F. Muñoz. Is there anything to celebrate with gesticulador today?
enExcélsior Posted on August 8, 2010
The plot is clever and striking that has made Rudolph Usigli a work whose content is severe, especially considering that the work is seventy-year-old. If today the political bureaucracy does not tolerate criticism, I do not imagine what it was at the premiere. Casas Argentina Olloqui, wife of the playwright, in an autobiography, My Life with Rodolfo Usigli , writes the political results of the staging of a seminal work: "... Rodolfo lost his job because he resigned from the chief of theater Fine Arts for its part could be represented and they all jumped him, insulted, beaten, and for a year and a half spent hunger and misery. "This despite the initial success. The work was not only technically innovative but it was too much for the political bureaucracy of the time when censorship was visible and monstrous. Today it seems that censorship has disappeared, at least say no more out of Los Pinos, which is lounging on other sites, some media who treasure their political interests and children. Times have been changed. In the first stage of the literature of the Revolution, where they talk of major combat, we walked to the complaint about the outcome of the quest. We gesturing town, charlatans and demagogues. Politics is a quagmire. From tragedy to farce. In literature, it was Jorge who with
Ibargüengoitia August Lightning
made the turn and made the satire of the genre. Carlos Fuentes novels we presented initial decline of the movement: a new bourgeoisie away from greatness and a political class authoritarian, despotic and corrupt. The gesticulador Usigli is a major work because it remains the perfect picture or metaphor of national policy. Great literature is often the best satire of a system like ours. There has been criticism more ruthless than, say, Shadow of the Caudillo
of Martin Luis Guzman. Neither story so drastic revolutionary excesses as the work of Rafael F. Muñoz. Is there anything to celebrate with gesticulador today?
enExcélsior Posted on August 8, 2010
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