Cimbelina en 1900 y pico: debate interno en torno al feminismo y máscaras de la identidad en el teatro de Alfonsina Storni : Cymbeline en the 1900 y pico: Internal debate surrounding feminism and masks of identity in the theater of Alfonsina Storni

Berta García Faet

doi:10.55422/bbmp.1143

Authors

Berta García Faet Universidad Complutense de Madrid

DOI:

https://doi.org/10.55422/bbmp.1143

Keywords:

reescritura, feminismo, disonancia, ironía

Abstract

Cimbelina en 1900 y pico, one of Alfonsina Storni’s two plays included in Dos farsas pirotécnicas (1932), is a critical rewriting of Shakespeare’s Cymbeline (1610). I focus on the dissonance this play brings to the feminist question: just as in her poetry there is a tension between the acceptance of sexist stereotypes and their resistance, here too there is sociosexual norm and transgression. Although it has been read as a purely feminist piece, I suggest that the characterization of the protagonist, María Elena, and other authorial marks (such as the annotations) suggest a self-debate that questions the violence of gender stereotypes but goes beyond that topic and delves into some intricate existentialist questions avant la lettre.

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Cymbeline en the 1900 y pico: Internal debate surrounding feminism and masks of identity in the theater of Alfonsina Storni