Voz propia y voces ajenas. Manifestaciones del dialogismo en dos (mono)dramas de Eduardo Pavlovsky: "Potestad" (1985) y "La muerte de Marguerite Duras" (2001)
One’s Own Voice and Other Voices. Dialogism and its Representations in Two Monodramas by Eduardo Pavlovsky: Potestad (1985) and La muerte de Marguerite Duras (2000)

Summary/Abstract: The following article, based on M.Bakhtin’s concepts, investigates different manifestations of dialogism in two monodramatic plays by Eduardo Pavlovsky: Potestad (1985) and La muerte de Marguerite Duras (2000). We try to outline the relationship between dialogism and the monologue as a type of verbal drama utterance. Despite the objections some critics might express, we argue that the monologue is an appropriate vehicle for the action in drama. In Potestad the character’s monologue turns out to be a perfect way of expressing an internal conflict experienced by the main character that finds himself on the edge of a possible dissociative disorder. Therefore it is possible for him to be recognised both as a victim as well as a persecutor, the fact that entails the unconscious coexistence of two antagonistic voices and two opposed ideological concepts, enclosed in the same individual being. Some other psicodramatic techniques that contribute to a far more complex and holistic characterisation of the hero are also studied. On the other hand La muerte de Marguerite Duras stands out not only for its rich intertextual and intratextual elements which emphasise its propensity for dialogism but also for its particular form of a fragmentary monologue in which some past events that are likely to be the character’s personal experiences are evoked. However these unclear fragments can also be seen as an invasion of “voices” unconnected to the character or yet another artistic vision of the postmodern man.

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