El objeto en la tragedia del absurdo: la destrucción del mundo en Samuel Beckett y Jorge Díaz

Abstract

This article offers a comparative analysis of Samuel Beckett’s Endgame and Jorge Díaz’s La víspera del degüello o el Génesis fue mañana in order to examine the function of the object in the Theatre of the Absurd. Its main aim is to show that stage props cease to be merely functional elements and become instead a core site of signification capable of reshaping the relations between subject, space, time, and action. The results show that, in both Beckett and Díaz, the object loses its stable everyday function and acquires symbolic, metonymic, ludic, and structuring value.