Resumen de Una Antígona para tiempos de supervivencia: Lo heroico y lo sucio en Antígona del dramaturgo cubano Yerandy Fleites
This essay analyzes Antígona (2008) by Yerandy Fleites to show how the author tackles the current Cuban political situation by rewriting the Sophoclean tragedy. Fleites adjusts the Greek myth to the Cuban context by means of parody and an intertextual dialogue with both Jean Anouilh's Antigone (1944) and Peruvian poet José Watanabe's Antígona (2000). The study then unpacks the idea of dirtiness and Fleites' depiction of the female heroine to demonstrate how the dramatist proposes hybris as the main psychological driver behind the Cuban Antígona (and that, to an extent, of the generation she represents) to suggest possible avenues for sociopolitical change. At the same time, this study considers the interpretations of Fleites' Antígona that Cuban directors Pedro Franco and Julio César Ramírez respectively brought to the stage in 2013 and 2020. Ramírez's reading in particular provides an understanding of Antígona in the context of the protests that occurred on November 27, 2020, when intellectuals, writers, and artists demanded that the Cuban Ministry of Culture recognize their rights and their freedom as citizens.
