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During June it is 120 years after the birth of Leopold Marechal and 50 of his death, figure of the argentinian literature contemporary. Marechal was a writer who mitigated with humor the avant-garde of the twenties of J orge Luis Borges and Xul Solar and projected them in later generations, of which “Rayuela” (1963) of Julio Cortazar would be a sentimental extension of his “Adam Buenosayres” (1948). However, criticism leaves aside an incessant poetic production, among the overflowing metaphors of its beginnings, “Five Southern Poems” (1936) and the Catholic liturgy of the end, “Heptamerón” (1966), several essays and journalistic articles, and a solid dramaturgy that appeared mostly post mortem. Even among his papers, in custody of his daughters, there are eleven unpublished pieces.
The first work theatrical of Marechal, and perhaps the most represented, is “Antigone Vélez” (1951), a Greek tragedy led to argentina pampas . With the lead curtain of the self-called “Conquest of the Desert”, the playwright transpolates in the “Postrera” the universal conflict of the classic Sophocles with the seasonings of the cultural shock argentinian between Creole and indigenous people. That version was about to not be released because the lead actress, Fanny Navarro, misplaced the unique manuscript. But a call from Eva Peron did you get that Marechal rewrite the text in full despite an initial refusal.
This is how the playwright recalls the dialogue with Avoid , “won by his enchantment, I put myself in the play that took me all that day and his subsequent night, assisted by Elbia — his partner, the poet Rosbaco — who worked with me until dawn. The following afternoon I read the play on stage of the -Teatro- Cervantes, before the actors and Enrique Santos Discépolo (the ineffable Discepoline), who would make the staging. The drama was presented on May 25, 1951, under precarious conditions of time, stage design and rehearsals. It was a great success of public and critics” (in “Words with Leopold Marechal” . Alfredo Andres. Buenos Aires: Carlos Perez Publisher. 1968).
Marechal, passionate secondary teacher, official during the first Peronism, forgotten after the fall of Peron , recovered by young people in the last years of his life, was a man who knew how to read among the allegories and epics of all time the fate of his compatriots. At the end of the novel “El Banquete de Severo Arcángelo” we read and read: “There are symbols that laugh and symbols that cry. There are symbols that bite like angry dogs or kick like redomons, and symbols that open like fruits and distill milk and honey. And there are symbols that await like time bombs”
“... the health of the social body depends, like that of the human body, on the solidarity harmony in which its vital functions are fulfilled, according to an order or balance that dictates its own need... “In Notebook of Navigation, Buenos Aires:Emecé. 1995
“The anguish of Adam Buenosayres-, which is born of mismatch, is in short what characterizes — on all levels, mental, moral and feeling- Argentinian , and above all to Argentinian whipped with unreconcilable winds”Julio Cortazar, actually XIV, 1949.
Publication Date: 18/06/2020
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