El exilio interior y sus máscaras: Voaxa e Carmín de Esther F. Carrodeguas

In Santiago de Compostela, La Alameda is a place frequented by students and tourists. The passerby discerns within the crowd a statue of two small women, arm in arm, dressed in bright colors and wearing extravagant make up. “As dúas Marías,” Maruxa and Coralia Fandiño, were two sisters who were brought up in a family of anarchist leaders of the CNT. With the arrival of the civil war and the dictatorship, the illusion created by the government of the Republic and the drafting of the Statute of Autonomy was soon transformed into silence and reprisals. The Fandiño men managed to flee, but the women remained in the house and were victims of torture and rape. Their only defensive mechanism was the solidarity between them and the embracing of madness. Thus it became a daily event in Santiago: at two o’clock in the afternoon, Maruxa and Coralia went out for a walk, dressed in bright colors and flamboyantly make up to compliment the students. Voaxa e Carmín by Esther F. Carrodeguas recreates one of those walks. This article will focus on how the inner exile of the protagonists is revealed, that is, their loneliness, their fear, their isolation, through the strategies of the theater of the absurd, and the metatheater. These resources include the use of the mask, the exchange of roles and the repetitive language.