Publicación: Humanidad sin contenciones: Retratos de la locura en Hamlet, 4.48 Psychosis y Home
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2019-10-22
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Universidad Nacional de Educación a Distancia. Facultad de Filología. Departamento de Literatura Española y Teoría de la Literatura
Resumen
Este Trabajo de Fin de Máster pretende reflexionar sobre la articulación de la voz que tres dramaturgos ingleses—William Shakespeare (Hamlet), Sarah Kane (4.48 Psychosis) y David Storey (Home)— dieron a la locura y, por ende, a la condición humana. Una voz entrecortada, ora queda, ora estridente, a veces rota, que expresa palabras que no siempre se nos antojan coherentes. Pero una voz libre de imágenes estereotipadas o sobrecompensadoras, que afirma categóricamente lo que otras —con su nutrido séquito de connotaciones culturales—parecen negar: que el horror mental del que brota la locura y que de ella, a su vez, brota, no resta ni un ápice de humanidad a quienes lo experimentan. Que tras el rostro de la locura—esa que, en palabras de Foucault, nos persigue desde hace siglos—; tras ese rostro, digo, en ocasiones desencajado, iracundo, absorto o bañado en lágrimas, hay un ser humano completo y complejo; una persona con virtudes y defectos, y todo lo que sea que hay en medio; una mente pensante y anhelante, angustiada y libre; una humanidad, en definitiva, intacta y esplendorosa, ni humillada, ni mermada ni esclavizada por la locura. Así de simple, y no por ello menos cierto. Así de obvio, y pese a todo, con tanta frecuencia obviado.
This Master’s Thesis aims to reflect on the articulation of the voice that three English playwrights —William Shakespeare (Hamlet), Sarah Kane (4.48 Psychosis) and David Storey (Home)— lent to madness and, thus, to the human condition. A faltering voice —now quiet, now loud, sometimes broken— which utters words that we do not always deem coherent. But a voice free of stereotyped or overcompensating images, which categorically affirms what other voices —with their large entourage of cultural connotations— seem to deny: that the mental horror whence madness sprouts —and which, in turn, sprouts from madness— in no way detracts from the humanity of those who experience it. That behind the face of madness —which, in Foucault’s words, has been haunting us for centuries; behind that face, I say, occasionally distorted, angry, self-absorbed or bathed in tears, there is a whole and complex human being; a person with virtues and foibles, and everything in between; a thinking and yearning mind, anguished and free; humanity, in short, intact and splendid, neither humiliated, nor diminished or enslaved by madness. That simple, yet no less true. That obvious, and nonetheless so often ignored.
This Master’s Thesis aims to reflect on the articulation of the voice that three English playwrights —William Shakespeare (Hamlet), Sarah Kane (4.48 Psychosis) and David Storey (Home)— lent to madness and, thus, to the human condition. A faltering voice —now quiet, now loud, sometimes broken— which utters words that we do not always deem coherent. But a voice free of stereotyped or overcompensating images, which categorically affirms what other voices —with their large entourage of cultural connotations— seem to deny: that the mental horror whence madness sprouts —and which, in turn, sprouts from madness— in no way detracts from the humanity of those who experience it. That behind the face of madness —which, in Foucault’s words, has been haunting us for centuries; behind that face, I say, occasionally distorted, angry, self-absorbed or bathed in tears, there is a whole and complex human being; a person with virtues and foibles, and everything in between; a thinking and yearning mind, anguished and free; humanity, in short, intact and splendid, neither humiliated, nor diminished or enslaved by madness. That simple, yet no less true. That obvious, and nonetheless so often ignored.
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locura, humanidad, normalidad, discapacidad, representación, teatro, madness, humanity, normality, disability, representation, theatre
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Facultades y escuelas::Facultad de Filología
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