Entre pantomima y «tableau vivant» : un acercamiento a la invisible Xemáa-el-Fna de «Makbara» de Juan Goytisolo y «Voces de Marrakech» de Elias Canetti
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2008
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Ediciones Complutense
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Sánchez-Arjona Voser, Javier. «Entre pantomima y “tableau vivant” : un acercamiento a la invisible Xemáa-el-Fna de “Makbara” de Juan Goytisolo y “Voces de Marrakech” de Elias Canetti». Revista de Filología Románica, Anejo 6 (II), 2008, pp. 157-163, https://revistas.ucm.es/index.php/RFRM/article/view/RFRM0808330157A
Abstract
RESUMEN: En este artículo pretendemos comparar dos espacios textuales –«Makbara» de Juan Goytisolo y «Voces de Marrakech» de Elias Canetti– construidos como teatros verbales. Sobre sus tablas ficticias se juega una composición de figuras que dan vida y forma a una plaza –la Xemáa-el-Fná de Marrakech– que asombra y maravilla al lector que configura Goytisolo y al narrador homónimo de Canetti. Los protagonistas de este mundo carnavalesco oriental representado por y para europeos no sólo son las figuras grotescas que son llamadas a escena: la voz y el espacio mismo juegan su papel en la creación estratégica de este “no lugar” textual que es un caleidoscopio a la vez fisonómico y tectónico, pero en todo caso invisible.
ABSTRACT: The article’s proposal is to compare two textual spaces –Juan Goytisolo’s “Makbara” and Elias Canetti’s “The Voices of Marrakesh”– build as stages. Upon their fictional boards a figural composition is played, which gives life and form to a square –the Djemaa-el-Fna of Marrakesh–, which impresses and marvels the reader built up by Goytisolo and the Elias Canetti’s homonym narrator. The main figures of this orientalistic carnivalistic world represented by and for europeans are not only the grotesque players which are placed on the stage: the voice and the space itself are part of the strategic creation of this textual “non-place”, which is a physiognomic and a tectonic kaleidoscope, that remains invisible.
ABSTRACT: The article’s proposal is to compare two textual spaces –Juan Goytisolo’s “Makbara” and Elias Canetti’s “The Voices of Marrakesh”– build as stages. Upon their fictional boards a figural composition is played, which gives life and form to a square –the Djemaa-el-Fna of Marrakesh–, which impresses and marvels the reader built up by Goytisolo and the Elias Canetti’s homonym narrator. The main figures of this orientalistic carnivalistic world represented by and for europeans are not only the grotesque players which are placed on the stage: the voice and the space itself are part of the strategic creation of this textual “non-place”, which is a physiognomic and a tectonic kaleidoscope, that remains invisible.