O progresso de Edipo de Natália Correira: uma reescrita feminina do mito

• Autor(a) principal: Fialho, Maria do Céu
• Data de Publicação: 2006
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://doi.org/10.34632/mathesis.2006.5089

The myths of Antigone and Oedipus had very different presences on the Portuguese stages of the 20th century. Until the end of 1960s Antigone was used to lend a voice to multiple forms of resistence through drama. Oedipus, on the other hand, was absent with one exception - the staging of the Sophoclean play, performed by an amateur theatre group. Only Santareno's masterpiece, António Marinheiro, first performed in 1967, will free the myth of the heavy burden of the past through a Freudian reading. In the meantime two examples of the rewritten play remained, not to be performed, as witnesses to the absolute diversity of aesthetical and ideological tendencies: the first is the Trilogia de Édipo, of João de Castro Osório, published in 1954. This is a Neoparnassian work with a strong influence of Nietzsche, regarding the concept of an Oedipus as a superman. The second example, O progresso de Édipo, of Natália Correia, published in 1957, has the character of a dramatic poem and belongs to the Portuguese Surrealism. It is heavily influenced by Freud's concepts as well as by Cocteau's La machine infernale. The text joins and subverts the sequenceof Oedipus' myth. It heralds the opening up of a new form of seeing which may be understood as poetic wisdom. This wisdom is intuitive and emotional. It is strengthened by a renewed connection between man and his origins - poetically expressed as a spring. This is a forbidden connection, which appears in the myth as the connection between Oedipus and his maternal origin. This is also the forbidden connection between the poet and the mystery of his own origin and identity.