Puritanismo, mirada masculina y espectadoras: «The Scarlet Letter» (2018), de Angélica Liddell
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Publication date
2021
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Prensas de la Universidad de Zaragoza
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Oñoro Otero, Cristina. «Puritanismo, mirada masculina y espectadoras: “The Scarlet Letter” (2018), de Angélica Liddell». Tropelías , n.º 35, 2021, pp. 70-85, https://doi.org/10.26754/ojs_tropelias/tropelias.2021355116.
Abstract
RESUMEN: En las siguientes páginas me propongo abordar desde la perspectiva de la “espectadora feminista” (Dolan) el montaje «The Scarlet Letter», de Angélica Liddell, una versión libre de la novela de Nathaniel Hawthorne estrenada en Francia a finales de 2018. Exploraré las emociones paradójicas que tal espectadora siente durante una representación en la que se carga contra las mujeres y el puritanismo del movimiento #MeToo pero que, al mismo tiempo, y desde un punto de vista estético, se desafía la “mirada masculina dominante” (Mulvey) y la propia Liddell se afirma como creadora. Como veremos, la obra de Liddell reivindicará el teatro como espacio ritual de lo íntimo frente a la cultura televisiva, puritana e hipócrita, de las conductas globalizadas. A través del teatro de Liddell, en definitiva, podremos acercarnos a la forma «conflictiva» en la que una parte de los creadores escénicos contemporáneos piensa el espectador.
ABSTRACT: In this article, I aim to address Angélica Liddell’s production of «The Scarlett Letter», a free adaptation of Nathaniel Hawthorne’s novel which premiered in France in 2018, from the perspective of ‘the feminist spectator’ (Dolan). I will examine the paradoxical emotions which such spectator experiences during a play in which women and the puritanism associated with the #MeToo movement are attacked; whilst, at the same time, from an aesthetic point of view, the ‘dominant male gaze’ (Mulvey) is challenged, therefore reinforcing Liddell as a creator. As it will be shown, Liddell’s work reclaims the theatrical performance as a ritualistic space of intimacy, in opposition to the puritan and hypocritical media culture of globalised behaviour. Ultimately, through Liddell’s production, we can approach the conflictive way in which the spectator is regarded by part of contemporary performing creators.
ABSTRACT: In this article, I aim to address Angélica Liddell’s production of «The Scarlett Letter», a free adaptation of Nathaniel Hawthorne’s novel which premiered in France in 2018, from the perspective of ‘the feminist spectator’ (Dolan). I will examine the paradoxical emotions which such spectator experiences during a play in which women and the puritanism associated with the #MeToo movement are attacked; whilst, at the same time, from an aesthetic point of view, the ‘dominant male gaze’ (Mulvey) is challenged, therefore reinforcing Liddell as a creator. As it will be shown, Liddell’s work reclaims the theatrical performance as a ritualistic space of intimacy, in opposition to the puritan and hypocritical media culture of globalised behaviour. Ultimately, through Liddell’s production, we can approach the conflictive way in which the spectator is regarded by part of contemporary performing creators.