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espanolEl monologo dramatico, un genero literario desarrollado en el siglo XIX por los poetas ingleses Robert Browning y Alfred Tennyson, sigue vigente en la antipoesia de Nicanor Parra donde resaltan sus aportes mas marcados: la apertura de la poesia al lenguaje hablado cotidiano y a la actualidad; la claridad sintactica y lexica; la sustitucion del sujeto lirico romantico por un personaje que cada vez mas se va alejando del yo empirico del poeta; la incorporacion de distintos discursos linguisticos y el creciente caracter dramatico de las enunciaciones. El monologo dramatico antipoetico comienza con poemas/mascaras/autorretratos en que el hablante se puede confundir y hasta identificar con el poeta. Poco a poco se van ensayando otras voces, el mendigo atracador de “Cancion para correr el sombrero”, Lazaro y especialmente el Cristo de Elqui, que es a la vez un personaje contradictorio e independiente del poeta y un arma para decir lo que la censura y la dictadura no permitirian. Los discursos de sobremesa son una especie de monologo dramatico tambien y emplean los recursos esenciales del genero: un personaje hablante no necesariamente identificable con el autor/actor que se dirige a un interlocutor que no habla nunca pero que esta implicito en el discurso. EnglishThe dramatic monologue, a genre developed in the nineteenth century by the English poets Robert Browning and Alfred Tennyson, is present in the antipoetry of Nicanor Parra highlighting its major contributions: the opening of poetry to everyday, spoken language and to the present moment; a clear and straightforward syntax and lexicon; the replacement of the lyric Romantic subject with a character who gradually distances himself from the empirical I of the poet; the inclusion of a variety of linguistic discourses and the ever-increasing dramatic nature of the poetic enunciations. The dramatic monologue in Parra’s antipoetry begins with poems that act as masks and self portraits in which the speaker can easily be confused with and even identified as the poet himself. Gradually other voices are introduced, the aggressive beggar in “Song to Pass the Hat”, Lazarus, and especially the Christ of Elqui, who is a contradictory character independent of the author as well as a mechanism for eluding the censors during the Pinochet dictatorship. The After Dinner Speeches are yet another form of dramatic monologue since they use the genre’s essential strategies: a speaker not necessarily identifiable with the author/actor who addresses an audience that never speaks but is implicitly included in the speech.

EL MONÓLOGO DRAMÁTICO EN LA ANTIPOESÍA DE NICANOR PARRA