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Antolog\u00eda de teatro<\/span>
\nIgnacio Arriola Haro<\/span>
\nTeatro<\/span>
\nF.C.E., Universidad de Guadalajara. M\u00e9xico. 1998, 364 p\u00e1gs.<\/span><\/div>\n

\n<\/span><\/div>\n

\u00ab\u2014La computadora lo resuelve todo; no hay misterio ni problema que la detenga\u2026 sabe hasta componer poemas, m\u00fasica, teatro; preve cualquier resultado. Es tambi\u00e9n el supremo tribunal; sabe sentenciar; ha inaugurado la nueva \u00e9poca, ha transformado la historia, ha modelado al hombre\u00bb (R\u00e9quiem por la luna, p.133). Con este lenguaje inteligente y mordaz est\u00e1n escritas las obras de Ignacio Arriola (1930-1990), dramaturgo mexicano pr\u00e1cticamente desconocido, cuya obra de madurez antologa el Fondo de Cultura Econ\u00f3mica. El volumen contiene cinco secciones: Obras metateatrales, Teatro absurdista, Ejercicios dial\u00f3gicos con intertextualidad, Mon\u00f3logos del yo y Auto y antiauto. Dentro de la primera secci\u00f3n resulta especialmente atractiva la obra El limbo. De influencia pirandelliana y sin duda calderoniana, presenciamos la rebeli\u00f3n de los personajes contra su repetido e irrenunciable destino. Reflexivos y cr\u00edticos, los personajes cuestionan su valor como entelequias razonantes. Insertado en la tradici\u00f3n cristiana de nuestro teatro, entra de nuevo en el escenario el cl\u00e1sico conflicto entre libertad y predestinaci\u00f3n, magistralmente trabajado ya por Tirso de Molina y Calder\u00f3n. Poco se puede decir en este breve espacio. Mejor c\u00f3mprelo y regoc\u00edjese con este espl\u00e9ndido dramaturgo que viene a confirmar nuestra ya a\u00f1eja tradici\u00f3n teatral.<\/span>
\n $\"\"$ <\/div>\n<\/div>\n

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