Publication: Sincretismo paralitúrgico y representaciones escénicas asociados a la tradición festiva de América Latina
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2015-05-04
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Universidad Complutense de Madrid
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Abstract
En América latina perviven, casi irreconocibles, asociadas a los hechos escénicos y adscritas al folclore, unas prácticas parateatrales de corte colonial y precolombino, que, con ánimo de garantizar su persistencia, fueron alojadas por los naturales –aborígenes y mestizos- en el ámbito de una celebración religiosa. El presente estudio analiza estas manifestaciones y el modo en que supieron adecuarse a unas circunstancias cuyos nuevos componentes, de procedencia evangelizadora y europea, respondían a un violento proceso de aculturación. Vinculadas con las fiestas patronales responden, por tanto, a dos naturalezas diferentes: La que significa todo hecho escénico y la que encierra toda esfera religiosa. Al mismo tiempo, en dichas fiestas convergen, de forma simultánea, otras prácticas no canónicas de representación estrictamente teatral cuyos aspectos hieráticos y espirituales dotan a las mismas de unas características particularmente exclusivas que permiten incluirlas en las celebraciones de tipo paralitúrgico y cuyo enfoque carece de precedentes. Calificarlas, de forma escueta, “teatro” sería someterlas a una degradación tendente a negar cualquier tipo de vinculación con el misterio. En segundo lugar, los argumentos expuestos en la presente tesis doctoral abordan el proceso sincrético que ha configurado una tradición que supo garantizar y garantiza, al menos por el momento, la permanencia de tan exclusivos fenómenos teatrales, adscritos al ámbito gravitatorio de las fiestas conmemorativas católicas. La permanente relación entre el pasado y el presente, entre lo religioso y lo pagano, transforma y sacrifica el género teatral poniéndolo al servicio de la celebración religiosa, por lo que una de sus más innegables particularidades reside en el indiscutible hecho de que nos encontramos ante “otras” formas de entender y de hacer teatro. Esto es así porque sus fundamentos escénicos corren paralelos al hecho teatral endémico, aunque realizados y percibidos de un modo más históricamente flexible. Finalmente esta investigación ha permitido clarificar una terminología específicamente teatral cuyo empleo suele caer, con demasiada frecuencia, en una utilización incorrecta. A modo de conclusión incluimos unas ediciones bibliográficas básicas, si bien remitimos, para consulta y mayor información, al listado general de las mismas
In present day Colonial and pre-Columbian Latin America, paratheatrical practices still survive. Such practices, although barely recognizable, are associated with stage action, closely related to folklore and hosted by indigenous peoples – aborigines and mestizos- in the context of religious celebrations, thus, guaranteeing their survival. The current study analyzes those practices and the way in which they have adapted to circumstances whose new components of evangelization and European origin, responded to a violent process of acculturation. Often linked to religious festivities, they respond to two different natures : one that signifies all stage action and one which encompasses the entire religious sphere. At the same time, in such festivals also simultaneously, converge other non-canonical practices of strictly theatrical nature whose hieratic and spiritual elements give the same exclusive characteristics that allow their inclusion within celebrations of a paraliturgical nature . This approach is unprecedented and to rate them simply as "theatre" would entail a degradation, aimed at the denial of any kind of involvement with mysteriousness. The arguments presented in this dissertation address a syncretic process that has set up a tradition of knowing how to ensure and guarantee, at least for the moment, the survival of such exclusive theatrical phenomena ascribed to the gravitational field of Catholic commemorative celebrations. The constant shifting relationships between the past and the present, the religious and the pagan, transforms and sacrifices the theatrical genre by placing it at the service of religious celebrations. Therefore, these ambivalent relationships have become one of its most undeniable characteristics which also converge with the indisputable fact that we are faced with "other" forms of comprehending and performing theatre. The reasons are deeply routed in its scenic foundations which run parallel to the endemic theatrical act, albeit perceived and made more ‘historically’ flexible. Finally this investigation sheds light on certain terminology specifically related to the theatrical domain, whose employment tends to fall, all too often, in incorrect usage. By way of conclusion, a selection of basic bibliographic editions have been included below. However, for further consultations and more detailed information, please refer to the general bibliograpy
In present day Colonial and pre-Columbian Latin America, paratheatrical practices still survive. Such practices, although barely recognizable, are associated with stage action, closely related to folklore and hosted by indigenous peoples – aborigines and mestizos- in the context of religious celebrations, thus, guaranteeing their survival. The current study analyzes those practices and the way in which they have adapted to circumstances whose new components of evangelization and European origin, responded to a violent process of acculturation. Often linked to religious festivities, they respond to two different natures : one that signifies all stage action and one which encompasses the entire religious sphere. At the same time, in such festivals also simultaneously, converge other non-canonical practices of strictly theatrical nature whose hieratic and spiritual elements give the same exclusive characteristics that allow their inclusion within celebrations of a paraliturgical nature . This approach is unprecedented and to rate them simply as "theatre" would entail a degradation, aimed at the denial of any kind of involvement with mysteriousness. The arguments presented in this dissertation address a syncretic process that has set up a tradition of knowing how to ensure and guarantee, at least for the moment, the survival of such exclusive theatrical phenomena ascribed to the gravitational field of Catholic commemorative celebrations. The constant shifting relationships between the past and the present, the religious and the pagan, transforms and sacrifices the theatrical genre by placing it at the service of religious celebrations. Therefore, these ambivalent relationships have become one of its most undeniable characteristics which also converge with the indisputable fact that we are faced with "other" forms of comprehending and performing theatre. The reasons are deeply routed in its scenic foundations which run parallel to the endemic theatrical act, albeit perceived and made more ‘historically’ flexible. Finally this investigation sheds light on certain terminology specifically related to the theatrical domain, whose employment tends to fall, all too often, in incorrect usage. By way of conclusion, a selection of basic bibliographic editions have been included below. However, for further consultations and more detailed information, please refer to the general bibliograpy
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, leída el 17-12-2014