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Abstract

From a comparative viewpoint this article examines the intertextuality between Griselda Gambaro's play, Antigona Furiosa and the Antigona of Sophocles, by exploring the author's procedure to re-signify the myth from the Argentine (and Latin American) experience of dictatorship. Although Gambaro may retain the mithemes of the Greek text, her enunciation is articulated from the Latin American reality in the form of the supreme palimpsest, parody, which in this case becomes the principal form of cultural appropriation. Parody permits not only the denunciation of an ominous reality while implying at the same time a new reading of the classic text, from the actual Latin American experience of our times.