{"id":6475,"date":"2019-01-25T16:21:16","date_gmt":"2019-01-25T15:21:16","guid":{"rendered":"https:\/\/www.imex-revista.com\/?p=6475"},"modified":"2021-06-01T12:06:25","modified_gmt":"2021-06-01T11:06:25","slug":"xv-espacio-teatral-criollo","status":"publish","type":"post","link":"https:\/\/www.imex-revista.com\/en\/xv-espacio-teatral-criollo\/","title":{"rendered":"Agnieszka Komorowska \u2013 Construyendo el espacio teatral criollo"},"content":{"rendered":"[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text]\n<p style=\"text-align: center;\"><a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/6412\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Issue<\/span><i class=\"icon-button-arrow\"><\/i><\/a> <a class=\"nectar-button n-sc-button small accent-color has-icon regular-button\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/download\/6423\/\" data-color-override=\"false\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Download Article<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n[\/vc_column_text][vc_row_inner column_margin=&#8221;default&#8221; text_align=&#8221;left&#8221;][vc_column_inner column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;30&#8243;][vc_column_text]\n<h3 style=\"text-align: center;\"><strong><span style=\"color: #b0b0b0;\">Construyendo el espacio teatral criollo: <em>Los empe\u00f1os de una casa<\/em> de Sor Juana In\u00e9s de la Cruz<br \/>\n(pp. 83-98; DOI: 10.23692\/iMex.15.7)<\/span><\/strong><\/h3>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<p style=\"text-align: center;\"><div class=\"ead-preview\"><div class=\"ead-document\" style=\"position: relative;\"><div class=\"ead-iframe-wrapper\"><iframe src=\"\/\/docs.google.com\/viewer?url=https%3A%2F%2Fwww.imex-revista.com%2Fwp-content%2Fuploads%2F6_AK_Construyendo-el-espacio-teatral-criollo_iMex15.pdf&amp;embedded=true&amp;hl=en\" title=\"Embedded Document\" class=\"ead-iframe\" style=\"width: 80%;height: 80%;border: none;min-height: 500px;visibility: hidden;\"><\/iframe><\/div>\t\t\t<div class=\"ead-document-loading\" style=\"width:100%;height:100%;position:absolute;left:0;top:0;z-index:10;\">\n\t\t\t\t<div class=\"ead-loading-wrap\">\n\t\t\t\t\t<div class=\"ead-loading-main\">\n\t\t\t\t\t\t<div class=\"ead-loading\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/loading.svg\" width=\"55\" height=\"55\" alt=\"Loader\">\n\t\t\t\t\t\t\t<span>Loading...<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"ead-loading-foot\">\n\t\t\t\t\t\t<div class=\"ead-loading-foot-title\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/EAD-logo.svg\" alt=\"EAD Logo\" width=\"36\" height=\"23\"\/>\n\t\t\t\t\t\t\t<span>Taking too long?<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<div class=\"ead-document-btn ead-reload-btn\" role=\"button\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/reload.svg\" alt=\"Reload\" width=\"12\" height=\"12\"\/> Reload document\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<span>|<\/span>\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/6_AK_Construyendo-el-espacio-teatral-criollo_iMex15.pdf\" class=\"ead-document-btn\" target=\"_blank\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/open.svg\" alt=\"Open\" width=\"12\" height=\"12\"\/> Open in new tab\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<h3><span style=\"color: #ffffff;\"><strong><span style=\"color: #b0b0b0;\">Dr. Agnieszka Komorowska<br \/>\n<\/span><\/strong><\/span><\/h3>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\"><a href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Agnieszka-Komorowska_iMex.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-6330\" src=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/Agnieszka-Komorowska_iMex.jpg\" alt=\"\" width=\"144\" height=\"192\" \/><\/a><\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Agnieszka Komorowska is assistant professor at the Department for Romance Studies at the University of Mannheim. She is currently preparing a habilitation thesis on the <em>Economics of friendship in 17<sup>th<\/sup> and 18<sup>th<\/sup> Century Spanish Literature<\/em>. She has completed her PhD in French literature with a book on the poetics of shame in 20<sup>th<\/sup> and 21<sup>st<\/sup> century French literature and thought. Her research focuses on the relationship of economy and literature and the study of affect and emotion in literature and cultural theory.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Recent book publications:<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Agnieszka Komorowska, Annika Nickenig (ed.):\u00a0 <em>Poetiken des Scheiterns. Formen und Funktionen un\u00f6knomischen Erz\u00e4hlens<\/em>. Paderborn: Fink, 2018.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Agnieszka Komorowska: <em>Scham und Schrift. Strategien literarischer Subjektkonstitution bei Duras, Goldschmidt und Ernaux<\/em>. Heidelberg: Winter, 2017.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Recent journal articles:<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">[2016] \u201e,Mais c&#8217;est d&#8217;une ambigu\u00eft\u00e9 \u00e9trange.\u2019 Die Rezeption von Michel Houellebecqs Roman <em>Soumission <\/em>in Frankreich und Deutschland.&#8221; In: <em>Romanische Studien<\/em>\u00a0 3 \/ 2016, p. 137-169.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">[2015] \u201eQuel mod\u00e8le pour \u00e9crire le r\u00e9el\u00a0? L&#8217;exp\u00e9rimentation et l&#8217;exemplarit\u00e9 comme mod\u00e8les \u00e9conomiques chez \u00c9mile Zola et Guy de Maupassant\u201c. In: <em>Romanesques<\/em> 7 \/ 2015, p. 227-250. (co-authored with Annika Nickenig)<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;50&#8243;][tabbed_section style=&#8221;default&#8221; alignment=&#8221;left&#8221; spacing=&#8221;default&#8221; tab_color=&#8221;Accent-Color&#8221;][tab icon_family=&#8221;none&#8221; title=&#8221;Resumen&#8221; id=&#8221;1547557827370-1c0db-80c0&#8243; tab_id=&#8221;1547571074335-8&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Con el festejo <em>Los empe\u00f1os de una casa<\/em>, Sor Juana crea una obra transcultural en el sentido que las diferentes piezas de la casa, es decir sus textos (la comedia, la loa, los sainetes, las letras y el <em>Sarao<\/em>), siempre remiten a otro lugar cultural escondido detr\u00e1s, a otro texto (en este caso calderoniano, moretino, etc.) y otro espacio. Las referencias al espacio americano como lugar transcultural sirven de hilo rojo en el festejo teatral, el cual, de esta manera, se constituye desde el principio como festejo criollo, adaptando los diferentes g\u00e9neros teatrales peninsulares a la realidad y las necesidades americanas. El art\u00edculo adopta el concepto de pliegue de Gilles Deleuze para pensar los aspectos h\u00edbridos y transculturales de la comedia sorjuanina en t\u00e9rminos espaciales. En <em>Los empe\u00f1os de una casa<\/em>, el espacio del interior y del exterior est\u00e1n fundamentalmente intrincados: La casa es un laberinto barroco, en el que los sucesos de enga\u00f1o y desenga\u00f1o se traducen en un juego con lo visible y lo invisible, lo localizable y lo ef\u00edmero. Nos servir\u00e1n de ejemplo, primero, la loa con sus espacios aleg\u00f3ricos, cuya representaci\u00f3n del poder virreinal est\u00e1 solapada por el poder del espacio americano, en segundo lugar, la comedia que juega de manera ir\u00f3nica y l\u00facida con los c\u00f3digos del g\u00e9nero, y luego el <em>Sainete Segundo<\/em>, que constituye una metra-reflexi\u00f3n sobre el teatro criollo y sus espacios.<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;Abstract&#8221; id=&#8221;1547557827331-10c0db-80c0&#8243; tab_id=&#8221;1547571074297-2&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">The article analyzes the play and <em>festejo<\/em> <em>Los empe\u00f1os de una casa<\/em> by the Mexican Golden Age playwright Sor Juana In\u00e9s de la Cruz and claims that the play is a transcultural creation. In the play, the different \u201crooms\u201d of the house, meaning the different parts of the<em> festejo<\/em>, allude to other cultural spaces, whether they be texts from the canon of Spanish Golden Age theater (for example by Calder\u00f3n de la Barca) or Latin-American texts and spaces. The allusions to Latin-American spaces run throughout the<em> festejo<\/em> and frame it as a creole play by adapting the Spanish genre to the reality and the esthetic and epistemic context of Colonial Mexico. The article applies Gilles Deleuze\u2019s concept of the baroque fold in order to understand the transcultural aspects of Sor Juana\u2019s play in terms of the construction of semantic spaces. The interior and exterior spaces of <em>Los empe\u00f1os de una casa<\/em> are interwoven: the house is a baroque labyrinth in which comic fortunes and misfortunes are expressed as an oscillating game between the visible and the invisible, the ephemeral and the stable. In a first step we will analyze the <em>loa <\/em>and its allegorical spaces. Secondly, we will focus on the<em> comedia<\/em> and its ironic and insightful way to challenge genre conventions. 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