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RESEARCH PRODUCT

Una lectura de Esperando a Godot y Fin de partida a través de la melancolía

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Con la lectura de Esperando a Godot (1953) y Fin de partida (1957) a traves del concepto freudiano de la melancolia, el presente articulo pretende demostrar a partir de que mecanismos el teatro de Beckett queda legitimado. En un momento post-catastrofe en que la palabra parece haber quedado desprovista de sentido, Beckett encuentra la formula para crear dramas sin que estos sean vanos, y es a partir del analisis de elementos como el tiempo, el espacio y la memoria que la estructura de su teatro queda al descubierto y eso que habia sido denominado teatro del absurdo pasa a llenarse de significados autenticos. By reading Waiting for Godot (1953) and Endgame (1957) through the Freudian concept of melancholy, this article is an attempt to examine the mechanisms that legitimate Beckett’s theatre. In a post-catastrophe scenery where the word seems to have been devoid of meaning, Beckett finds the formula to create dramas without these being vain, and it is through the analysis of elements such as time, space and memory that the structure of his theater is exposed. Thus what was denominated as Theatre of the Absurd becomes filled with authentic meaning.