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espanolTomando Apocalipsi (1998) como obra paradigmatica del teatro de Lluisa Cunille, el articulo explora sus estrategias compositivas de fragmentacion, epicidad y rapsodia tanto para definir la “poetica de la sustraccion” caracteristica de la autora como para descifrar la correlacion existente entre dicha forma dramatica, la semantica y la recepcion de su obra. El analisis detallado de la ruptura progresiva de los parametros dramaticos de Apocalipsi (fabula, accion, dialogo y personajes) permite elucidar la crisis de las relaciones intersubjetivas como problematica principal del teatro de Cunille; asimismo, ayuda a identificar el “espectador emancipado” de Ranciere (2009), intelectualmente activo y capaz de asumir la “responsabilidad etica” hacia el Otro de Levinas (1989), como modelo de recepcion de su dramaturgia. EnglishTaking Apocalipsi (1998) as a paradigmatic play of Lluisa Cunille’s theatre, the article explores its compositional strategies of fragmentation, epicisation and rhapsody both to define the “poetics of the subtraction” characteristic of the playwright, and to decipher the correlation between her aesthetics, and the semantics and the reception of her work. The detailed analysis of Apocalipsi’s progressive rupture of the dramatic parameters (fable, action, dialogue and characters) allows for elucidating the crisis of intersubjective relations as the main concern of Cunille’s drama; it furthermore contributes to identify Ranciere’s “emancipated spectator” (2009), who is intellectually active and prepared to assume Levinas’s “ethical responsibility” to the Other (1989), as a model of reception of her dramaturgy.

«Apocalipsi» (1998): poética, ética y recepción del teatro de Lluïsa Cunillé