Palabras clave
hermanas fatídicas
subalternidad de género
justicia social
transgresión
Cómo citar
Resumen
El presente artículo analiza la representación de los personajes femeninos subalternos en una influyente adaptación teatral húngara de Macbeth, de Shakespeare, realizada en 2018 y dirigida por Rémusz Szikszai en el Teatro Jászai Mari de Tatabánya y el Teatro Szkéné de Budapest, Hungría. El artículo se centra en la representación de las mujeres, analizando más detenidamente la interpretación de Lady Macbeth y dos de las hermanas fatídicas (la tercera hermana es un papel masculino en la producción). En el contexto teórico de la subalternidad y la justicia social, el estudio examinará si la producción desafía o confirma las representaciones tradicionales de los personajes femeninos. La producción se utilizará como estudio de caso para investigar los mecanismos a través de los cuales la mujer subalterna puede alcanzar agentividad y representación. Se demostrará cómo la representación de las mujeres en la adaptación traspasa casi todas las fronteras imaginables, incluyendo la división entre animal/humano, hombre/mujer, vivo/muerto y natural/sobrenatural. La puesta en escena indica, quizás de forma involuntaria, que las mujeres solo pueden empoderarse si están dispuestas a traspasar estas fronteras. Sin embargo, si se analiza más detenidamente, los personajes femeninos de la adaptación quedan relegados a los tropos patriarcales establecidos, dado que se pueden clasificar claramente como monjas, prostitutas, madres, esposas, brujas o locas. Aunque en la producción están bien representadas muchas capas de subalternidad (incluidas las raciales, políticas y culturales), la dimensión de género sigue sin explorarse suficientemente.
Citas
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