Article corresponds to a section of the fifth chapter (Conclusions) of a thesis to obtain the academic degree of Master of Arts with a major in Theatre Direction at the University of Chile . The thesis was defended in May 2005. The dissertation title is "Imaginary Ofelia or evil."
consists of an analysis of the character of Ophelia in three plays: "Hamlet" by William Shakespeare, "or the dead mother Ofelia" de Marco Antonio de la Parra and "Die Hamletmaschine" by Heiner Muller. The analysis is based on gender theory, as a starting point, to conclude by applying queer theory in the analysis of "Die Haletmaschine." The choice and interest in the character of Ophelia is related to the configuration of this character in its original context ("Hamlet" by Shakespeare) is due to characteristics of the archetypal female. Thereby the study of the evolution of Ophelia along and along its rewriting of history is related to the study of the evolution of female archetype built by the male gaze in Western history since the sixteenth century to the present day .
Thus it was evident that mutation in the construction of the character of Ophelia in gender referred to as a constitution from deeply rooted in the cultural construction of sexual difference is reached independent character traits associated with gender construct. This is evident at first glance this mutation occurring in the character something that suggests the obsolescence or at least the crisis of a concept that has operated for centuries as a category-defining identities in Western culture. The crisis in the gender category evident in the writing of Müller charges that this concept no longer provides a framework for accurate analysis, in other words Müller's writing reveals the possibility of, at least in the imaginary plane, universes without gender.
No longer a disturbing idea when sexual difference has traditionally been a key reality in the management of a cosmos under the hegemony of masculinity and other powers that have proposed a subject / power defined and well delineated. Happens to be declared then in addition to gender crisis, the crisis of a given subject axis of power and order. We can say this because the constitution of the speaking subject and builder of reality has been historically linked to gender, male. In writing Müller, surely unintentionally kinship with the foundations of postcolonialism raises a subject of enunciation is not hegemonic, and the most interesting all, a speaking subject who renounces dominant status. Only preserved in the subject of this writing the power of speech, or speech as a last remnant of identity but does not exercise any domination by the utterance. The display of the word then operates as a trait associated with humanity and will, to the pain and cry more than the power. Thus the displacement of the equations relating to power results in a democratization of the word as power even linking it to the area of \u200b\u200bthe victims. Spoken since the defeat, from pain and ambiguity, so the pair deconstruct discourse / power that operates in most of the earlier writings. It is necessary to note that the offset of the speech operation happen effectively and not simply a reversal of order in both gender. That is, the word becomes possible quality of any subject, not simply pass from one pole male to one female. The aforementioned crisis
speaking subject is related to a quality akin to the style of writing in question. If the aesthetics of postmodernism is considered fundamental to the concept we propose to add this piece, also in the aesthetic, a new kind of post modern subject apart from displaying the quality of the fragmentation is characterized as a taxable crowd (17). This concept, from the call queer theory appears to represent evidence of the crisis of an individual with unique characteristics and defined.
While this theory is developed in the plane near the real and effective political action also addresses, in a sense we could call postmfeminista, to denature once and for all the concept and gender-related associations. In this context an interesting aspect of queer theory is to consider the masculine and feminine codes only as performative uprooted from all natural logic. Because of this, the above theory suggests that there is not any one subject of enunciation of discourses, whichever is is, as the hegemony of a subject necessarily generate exclusions. Instead it proposes the existence of a new subject called crowd, appealing to the possibility of any identity, even a peripheral settle into a subject of enunciation with the same value as a core identity. Daniela
Capona
Chile, Santiago (Actress, Director, Teacher)
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