In the new drama, there are themes, motifs, recurring topics: incest is the subject of weight purity Mauricio Barria (2003) and Benito Escobar Noblesse oblige (2005), the food, ingredients, his recipes and preparation, broken pieces of some of Escobar (1998) and impudence Barria (2005), in Dog! Ana Harcha (2004), the myth of Narcissus is reflected in the novel by Manuel Infante (2006) and one of Escobar House (2003). Particular creates an image that mimesis is the image of the Pieta, which we see in impudence, in broken pieces of something and the severed head with the trunk of Juan Claudio Burgos (2004). As shown, elements of different levels of significance, which are inserted into the dramatic texture either as a substrate, plot or imagen.La question is whether these reasons are used as resources transtextual with the renunciation of action or creative literary called the snobbery that often involve such operations, or as mere topoi, that resource "that, going into the portfolio of ready-made disclaims invent that figure or that situation that the vivacity of the postulated" (Eco 2004a: 249, emphasis in original). Eco defines these moles as communicating messages "pedagogically" conservatives ", the mole is fixed, and therefore reflects a pre-existing order to work" (254). This approach is not consistent with the position of rupture of the texts appointed and, therefore, deserves further reflection. In these notes we will try this exercise in relation to one of these topoi, the Pieta, a symbolic visual structure in principle does not appear linked to the imagery of the last turn of the century. But why the Pieta? Culturally, we associate the sculpture Pieta of Michelangelo (1475-1564; work of approx. 1499), marble fixing the symbolic concepts of medieval iconography. The image of the Madonna with the body of his son, has multiple versions showing the body of Christ across his lap of his mother. There, on the one hand, a anaphoric reference to the symbol of torture and iconographic reference to "X", with the crucial, the two human lines that make a sign unique. This sign has acquired in the history of our culture different meanings, has become a mystery-all As regards the mathematical symbols with their powerful influence on the language contemporáneo1 - and ban a number of semiotic systems, traffic signs, no smoking or wandering animal, for example. A sign of two lines intersecting in a basic structural opposition and, therefore, extrema.Las versions that have made the Pieta could be classified into two groups: one which shows the Virgin and the body of Christ alone, as the classic image of Michelangelo, then, that represents these two central characters are surrounded by others, whether they are mentioned in the New Testament, Mary Magdalene, John, Joseph of Arimathea, Nicodemus, or other often complex story. A special case is represented in the so-called Brera Altarpiece (sacred conversation) (1472-1474) by Piero della Francesca (1416-1492). Here, the Virgin holds in her lap the child crossed with a red cord, anticipating signs of torture. Flanking saints and sages. In the foreground, kneeling and covered in silver armor, observe Federico de Montefeltro, who is presented in profile as in the portrait of the Uffizi Gallery in Florence. In the background, and the characters, are in perfect architectural symmetry, the shell and the egg suspended, symbolizing fertility divine. The ingenious arrangement of the sacred deixis achieved, in the stillness of the picture, taking us from the last virginal conception, the time the mother will have to hold the body of the child to return to the bosom of the contemporary iconography earth., stress is on the figure of the fallen man. From Eugenio Dittborn boxer, the man's penis amputee Morin, or pizza delivery, stealth advertising bailarinesyamantes brand Kookai youth clothing and accessories, Christ was made flesh of the anonymous man suffering XX2 century. La Pieta shows the darkest moment of passion: the transition from the cross to the grave. But this time, that there is darkening, as the counterpart terrible delivery, is the loss of all, in the eschatology of dust scattered in the desert, as stated Barria. The absurdity of the meat shines mother grave, that of raising anything for nothing, because at the time of the Pieta image resurrección.Pero there is yet another tragic component that Christ has cried and the cross: father's absence. The tragedy then has two faces: the darkening final and irreversible, and that their absence is a necessary condition for the concept of Pieta. The Pieta of Michelangelo, it becomes so perfect, so complete, because all around is the total absence. This does not know one another Pieta painting can provoke the same effect. The master Florentine Pieta is pyramidal. The marble assumes minimum geometry in the space of three dimensions: the four faces of the pyramid. At least that universe architecture life loses the battle, because beyond the geometry, there is only nothingness. If there is a stone that can be compared to this is Greek tragedy, the devastated by Buonarroti. Only contact between the extremes of beauty and horror produce lightning tragedy. Antigone and Polynices also formed his Pieta in the wilderness beyond the walls of Troy. She piously holds in transit to the land denied. He sees the girl spreading the dry powder over the dead body of his brother and singing, singing all the deaths from his belly, also the father is absent. In his old age, Michelangelo sculpted try another Pieta, the Rondanini Pieta (1555-1564). In the statue, unfinished, the bodies are displayed in a vertical tremendously painful, that the Virgin tries to retain the body of his son in his own body fighting gravity of the earth. "The work is just as artistic creation (...) is close to nothing, is formless, atonic, inarticulate" (Hauser 2004: 437). The rearward Mothers effort is as futile as the artist trying to bend the laws of the universe. Roberto Matamala Elorz
Chile, Santiago (Analyst)
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