Las cenizas de "El Marinero": un polígono de lados infinitos

Abstract

In his proposal for "static theater" and in the only play he published during his lifetime, "The Mariner," Fernando Pessoa creates a paradoxically chiseled theater that is built upon the negative concept of creative deprivation; in other words, it is a theater of self-destruction. The dual metaphor between sculpture and linguistics proves apt, as one of Pessoa's greatest theatrical creations is precisely a man sculpted from words. The character of the mariner, the central creation of this play, is simultaneously the greatest enigma of the story and the window to the metaphorical possibilities of the performance.