Miradas sobre Edipo en Tebas Land: de Sófocles a Sergio Blanco

The relationship between myth and gaze is particularly paradoxical in the theatre, and has been so since the time of Ancient Greek theatre to the present. After all, it pertains, on the one hand, to the most substantial trait of this mode of imitation (Aristotle), which is directly linked to the stage, whereas the second means, narrative, is always mediated by a voice (the narrator) or a gaze (the eye of the camera); and yet on the other hand the theatre is, even etymologically, a theatre par excellence: the fictive world is placed before the eyes of the spectator in a direct and effective manner.Since the gaze is of paramount importance to the very heart of the myth of Oedipus (from that of his parents, Laius and Jocasta, to the first-born, to the enemy-assassin, and finally to the saviour-king-spouse, and up to the unbearable one of anagnorisis, from which the only solution is blindness), in Greek tragedy, and its summit of Oedipus Rex, the impossible gaze finds substitutes in that of the choir and that of the playwright.On these bases, this paper examines the views of Oedipus which are intertwined in one of its most  recent scenic avatars, namely,  in Sergio Blanco's Tebas  Land (2013), where the protagonist, called à la Kafka “S”, encompasses at the same time the functions of the playwright and of the chorus in a perverse meta-theatrical play, while also embodying the various historical interpretations and views of the myth that exist between Sophocles and Blanco, especially that of Sigmund Freud, the third vertex of the hermeneutical triangle, or the third eye of “S”