Farce in Costa Rican theater at the end of the 20th century: Pagura, Cerdas and Istarú
This article examines the evolution of comic modes in three plays from late twentieth-century Costa Rican theatre, with particular attention to the genre of farce and its critical function. Through the analysis of Culopatía de Estado or “My Kingdom for an ass” by...
| Autores: | , |
|---|---|
| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2025 |
| País: | Costa Rica |
| Recursos: | Universidad Nacional de Costa Rica |
| Repositorio: | Portal de Revistas UNA |
| Idioma: | español |
| OAI Identifier: | oai:www.revistas.una.ac.cr:article/21649 |
| Acesso em linha: | https://www.revistas.una.ac.cr/index.php/istmica/article/view/21649 |
| Access Level: | acceso abierto |
| Palavra-chave: | Contemporary Costa Rican Literature Contemporary Costa Rican Drama Farce literatura costarricense contemporánea teatro costarricense contemporáneo farsa |
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Farce in Costa Rican theater at the end of the 20th century: Pagura, Cerdas and Istarú Farsa en el teatro costarricense de fines del siglo XX: Pagura, Cerdas e Istarú |
| title |
Farce in Costa Rican theater at the end of the 20th century: Pagura, Cerdas and Istarú |
| spellingShingle |
Farce in Costa Rican theater at the end of the 20th century: Pagura, Cerdas and Istarú Baltodano Román, Gabriel Contemporary Costa Rican Literature Contemporary Costa Rican Drama Farce literatura costarricense contemporánea teatro costarricense contemporáneo farsa |
| title_short |
Farce in Costa Rican theater at the end of the 20th century: Pagura, Cerdas and Istarú |
| title_full |
Farce in Costa Rican theater at the end of the 20th century: Pagura, Cerdas and Istarú |
| title_fullStr |
Farce in Costa Rican theater at the end of the 20th century: Pagura, Cerdas and Istarú |
| title_full_unstemmed |
Farce in Costa Rican theater at the end of the 20th century: Pagura, Cerdas and Istarú |
| title_sort |
Farce in Costa Rican theater at the end of the 20th century: Pagura, Cerdas and Istarú |
| dc.creator.none.fl_str_mv |
Baltodano Román, Gabriel Ramírez Villalobos, Grethel Baltodano Román, Gabriel Ramírez Villalobos, Grethel |
| author |
Baltodano Román, Gabriel |
| author_facet |
Baltodano Román, Gabriel Ramírez Villalobos, Grethel |
| author_role |
author |
| author2 |
Ramírez Villalobos, Grethel |
| author2_role |
author |
| dc.subject.none.fl_str_mv |
Contemporary Costa Rican Literature Contemporary Costa Rican Drama Farce literatura costarricense contemporánea teatro costarricense contemporáneo farsa |
| topic |
Contemporary Costa Rican Literature Contemporary Costa Rican Drama Farce literatura costarricense contemporánea teatro costarricense contemporáneo farsa |
| description |
This article examines the evolution of comic modes in three plays from late twentieth-century Costa Rican theatre, with particular attention to the genre of farce and its critical function. Through the analysis of Culopatía de Estado or “My Kingdom for an ass” by the Teatro Quetzal collective, as well as Ana Istarú’s plays Baby boom en el paraíso and Hombres en escabeche, the study explores the relationship between humorous representation and political, ideological, and gender critique. Adopting a semiotic-discursive approach, it highlights parody and the performative use of theatrical language. The argument advanced is that farce enables the interrogation of political power and patriarchal norms through satirical strategies and non-realist structures. Among the key findings is the assertion that comic discourse operates as a vehicle for social criticism by symbolically degrading figures of authority, deconstructing dominant cultural models, and foregrounding subaltern female subjectivities. Our paper concludes that, despite the institutional decline of theatre, a tradition of scenic resistance endures —one that blends humour, formal experimentation, and an ethical commitment to transforming social awareness. |
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2025 |
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2025-07-31 |
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info:eu-repo/semantics/publishedVersion artículo original http://purl.org/coar/resource_type/c_2df8fbb1 info:eu-repo/semantics/article |
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https://www.revistas.una.ac.cr/index.php/istmica/article/view/21649 10.15359/istmica.36.12 |
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https://www.revistas.una.ac.cr/index.php/istmica/article/view/21649 |
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10.15359/istmica.36.12 |
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spa |
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spa |
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https://www.revistas.una.ac.cr/index.php/istmica/article/view/21649/34052 https://www.revistas.una.ac.cr/index.php/istmica/article/view/21649/34053 https://www.revistas.una.ac.cr/index.php/istmica/article/view/21649/34054 https://www.revistas.una.ac.cr/index.php/istmica/article/view/21649/34056 https://www.revistas.una.ac.cr/index.php/istmica/article/view/21649/34171 https://www.revistas.una.ac.cr/index.php/istmica/article/view/21649/34172 |
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Universidad Nacional (Costa Rica) |
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Universidad Nacional (Costa Rica) |
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ÍSTMICA. Revista de la Facultad de Filosofía y Letras; Vol. 1 Núm. 36 (2025): Investigar en/ sobre/ desde/ para Centroamérica y el Caribe 2215-471X 1023-0890 reponame:Portal de Revistas UNA instname:Universidad Nacional de Costa Rica instacron:UNA |
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Portal de Revistas UNA - Universidad Nacional de Costa Rica |
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andrea.mora.campos@una.cr |
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Farce in Costa Rican theater at the end of the 20th century: Pagura, Cerdas and IstarúFarsa en el teatro costarricense de fines del siglo XX: Pagura, Cerdas e IstarúBaltodano Román, GabrielRamírez Villalobos, GrethelBaltodano Román, GabrielRamírez Villalobos, GrethelContemporary Costa Rican LiteratureContemporary Costa Rican DramaFarceliteratura costarricense contemporáneateatro costarricense contemporáneofarsaThis article examines the evolution of comic modes in three plays from late twentieth-century Costa Rican theatre, with particular attention to the genre of farce and its critical function. Through the analysis of Culopatía de Estado or “My Kingdom for an ass” by the Teatro Quetzal collective, as well as Ana Istarú’s plays Baby boom en el paraíso and Hombres en escabeche, the study explores the relationship between humorous representation and political, ideological, and gender critique. Adopting a semiotic-discursive approach, it highlights parody and the performative use of theatrical language. The argument advanced is that farce enables the interrogation of political power and patriarchal norms through satirical strategies and non-realist structures. Among the key findings is the assertion that comic discourse operates as a vehicle for social criticism by symbolically degrading figures of authority, deconstructing dominant cultural models, and foregrounding subaltern female subjectivities. Our paper concludes that, despite the institutional decline of theatre, a tradition of scenic resistance endures —one that blends humour, formal experimentation, and an ethical commitment to transforming social awareness.Este artículo examina la evolución de la comicidad en tres piezas del teatro costarricense de fines del siglo XX, con especial atención al género de la farsa y su función crítica. A partir del análisis de Culopatía de Estado o “My Kingdom for an ass” del grupo Teatro Quetzal, así como de obras de Ana Istarú como Baby boom en el paraíso y Hombres en escabeche, se estudian los vínculos entre la representación humorística y la denuncia política, ideológica y de género. El trabajo propone una perspectiva semiótico-discursiva, centrada en la parodia y el uso performativo del lenguaje escénico. Se argumenta que la farsa permite cuestionar tanto el poder político como los mandatos patriarcales, mediante estrategias satíricas y estructuras no realistas. Entre los hallazgos, se destaca que la comicidad funciona como mecanismo de crítica social, al degradar simbólicamente las figuras del poder, desmontar modelos culturales dominantes y visibilizar subjetividades femeninas subalternizadas. Nuestro estudio concluye que, pese a la precarización institucional del teatro, persiste una tradición de resistencia escénica que combina el humor, la experimentación formal y el compromiso ético con la transformación de la conciencia social.Universidad Nacional (Costa Rica)2025-07-31info:eu-repo/semantics/publishedVersionartículo originalhttp://purl.org/coar/resource_type/c_2df8fbb1info:eu-repo/semantics/articleapplication/pdftext/htmlapplication/epub+ziptext/xmlaudio/mpegaudio/mpeghttps://www.revistas.una.ac.cr/index.php/istmica/article/view/2164910.15359/istmica.36.12ÍSTMICA. Revista de la Facultad de Filosofía y Letras; Vol. 1 Núm. 36 (2025): Investigar en/ sobre/ desde/ para Centroamérica y el Caribe2215-471X1023-0890reponame:Portal de Revistas UNAinstname:Universidad Nacional de Costa Ricainstacron:UNAspahttps://www.revistas.una.ac.cr/index.php/istmica/article/view/21649/34052https://www.revistas.una.ac.cr/index.php/istmica/article/view/21649/34053https://www.revistas.una.ac.cr/index.php/istmica/article/view/21649/34054https://www.revistas.una.ac.cr/index.php/istmica/article/view/21649/34056https://www.revistas.una.ac.cr/index.php/istmica/article/view/21649/34171https://www.revistas.una.ac.cr/index.php/istmica/article/view/21649/34172http://creativecommons.org/licenses/by-nc-sa/4.0acceso abiertohttp://purl.org/coar/access_right/c_abf2info:eu-repo/semantics/openAccess2025-09-04T23:49:12Zoai:www.revistas.una.ac.cr:article/21649Portal de revistashttp://revistas.una.ac.cr/Universidadhttp://www.una.ac.crhttps://revistas.una.ac.cr/index.php/index/oaiandrea.mora.campos@una.crCosta RicaNo aplicaNo aplicaNo aplicaopendoar:2025-09-04T23:49:12Portal de Revistas UNA - Universidad Nacional de Costa Ricafalse |
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