Publication: El juego del cadáver exquisito, su provocadora iconografía y fundamentos de la misma
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2016-09-08
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Universidad Complutense de Madrid
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Abstract
En esta tesis se investiga El juego del cadáver exquisito, un juego surrealista cuya iconografía se caracteriza por ser de índole disparatada, incluso extravagante, cercana al relato delirante; esta tesis plantea la equiparación entre la iconografía de este juego y la derivada de procesos irracionales. En esta tesis se estudia el proceso compositivo del juego, proceso en el cual los participantes contribuyen con sus aportaciones plásticas sin que ninguno de ellos vea la participación de los demás, es una composición a ciegas, para que ello ocurra se van tapando sucesivamente las participaciones gráficas dejando solo visibles unos rasgos en los cuales el siguiente participante puede engarzar su colaboración, por lo tanto el dibujo se mantiene en la incógnita de cuál será su composición final, el resultado compositivo se desvelará después de la última participación. Es un proceso compositivo envuelto en su propia incógnita, la participación es anónima, con lo cual la propiedad del dibujo se diluye, esto favorece la plasmación del exabrupto, la creación de una realidad inopinada, una realidad que favorecida por estas características compositivas compone al margen de la lógica, el sistema consciente y la razón. Por ejemplo en este proceso de elaboración compositiva no se da la contradicción, objetos dispares pueden conformar una imagen de índole paradójica al presentarse componiendo otro que será inusual y tendrá un significado no acorde con su composición objetiva, esto ocurre por ejemplo cuando una Fuente es el resultado de la unión entre un váter, una bomba y un tornillo que por encima tiene un chorro de agua; objetos reunidos en este proceso lúdico fuera del cual no se daría esta composición, ésta es la fórmula compositiva del cadáver exquisito. Los objetos desplazan sus significados al componer otra realidad, esa imagen visible puede tener un significado distinto al que aparece delante de nosotros. Este proceso a ciegas, anónimo y lúdico favorece la expresión irreverente, se burla la censura de material que pudiera ser tachado como desvergonzado, el juego desatiende las exigencias que pudieran coartar la libertad expresiva íntima de cada jugador...
This game originated around the year 1925, in a house situated on number 54 Rue de Chateau, were Marcel Duhamel lodged Jacques Prévert, Yves Tanguy and Benjamin Péret” (from Michel Goutieŕs “Surrealistic games”, 1996, page 47). Number 54 Rue de Chateau embodied chance, game, fantasy, childhood opportunities, amiable and creative communication with others. “It was reigned by absolute nonconformity, total irreverence and good humour” (Breton, 1972, page 146), it was an anxiolytic space that facilitated a cosy interaction, being able to approach new situations without fear of getting lost in unexplored complexities with no apparent meaning; cosiness which helps immerse oneself in unknown adventures, discovering other ways of proceeding, which guaranteed personal expression under the grouṕs shelter, without fear of any harsh remarks, encouraging the most intimate hidden formulations. “It was precisely during one of those evening events of idleness and boredom… when the exquisite corpse was created. One of us said: “we could play paper slips”… the gentleman finds the lady; he speaks, etc… The game expanded its field at great speed. “Writing anything will do”, said Prévert. “On the next go the “exquisite corpse” had already benn born. Directed by Prévert́s pen, precisely who wrote the first words, which were soon completed by the following”. The exquisite corpse Shall drink the wine New One night, someone suggested the same game be put into practice using drawings instead of words. The manner of transmission was found straight away. A piece of paper was folded over the first drawing, making three or four lines go beyond the folding. The next player should extend then, give them shape without having seen the beginning. (Surrealistic games, 1996, page 65, Simone Collinet)...
This game originated around the year 1925, in a house situated on number 54 Rue de Chateau, were Marcel Duhamel lodged Jacques Prévert, Yves Tanguy and Benjamin Péret” (from Michel Goutieŕs “Surrealistic games”, 1996, page 47). Number 54 Rue de Chateau embodied chance, game, fantasy, childhood opportunities, amiable and creative communication with others. “It was reigned by absolute nonconformity, total irreverence and good humour” (Breton, 1972, page 146), it was an anxiolytic space that facilitated a cosy interaction, being able to approach new situations without fear of getting lost in unexplored complexities with no apparent meaning; cosiness which helps immerse oneself in unknown adventures, discovering other ways of proceeding, which guaranteed personal expression under the grouṕs shelter, without fear of any harsh remarks, encouraging the most intimate hidden formulations. “It was precisely during one of those evening events of idleness and boredom… when the exquisite corpse was created. One of us said: “we could play paper slips”… the gentleman finds the lady; he speaks, etc… The game expanded its field at great speed. “Writing anything will do”, said Prévert. “On the next go the “exquisite corpse” had already benn born. Directed by Prévert́s pen, precisely who wrote the first words, which were soon completed by the following”. The exquisite corpse Shall drink the wine New One night, someone suggested the same game be put into practice using drawings instead of words. The manner of transmission was found straight away. A piece of paper was folded over the first drawing, making three or four lines go beyond the folding. The next player should extend then, give them shape without having seen the beginning. (Surrealistic games, 1996, page 65, Simone Collinet)...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Didáctica de la Expresión Plástica, leída el 16-12-2015