Transgresiones de vida y arte en Cartas de amor a Stalin, de Juan Mayorga

摘要

Cartas de amor a Stalin (2000), like all postmodern plays, centers on the problematic of artistic representation, rejects the possibility of constructing a single objective worldview, and dismisses outright the notion of an absolute authority. Mayorga''s play challenges both the traditional hegemony of reality and its mimetic quality by exploring the ontological implications of artistic creation.In the play, Mayorga''s perspective is markedly phenomenological. His intent is to disarticulate the notions of origin, originality, and authenticity in an effort to illustrate that both the theatrical experience and life are processes of retextualization and reapproriation that are essentially self-reflective. What transpires in Cartas de amor a Stalinbreaks with the conventional iconic representation of reality and demystifies the creative act as one that is primarily mimetic. What Mayorga depicts in the play is based on the rejection of transcendental truth, the futility of submitting reality to empirical proof, and the impossibility of art to capture the ever more unstable and fragile human condition.