Publication: Zarzuela y ópera en Yucatán (1863-1930). Actividad del teatro lírico y creación local
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2016-10-06
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Universidad Complutense de Madrid
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Abstract
Este trabajo consiste en la exposición de una semblanza de la zarzuela y la ópera en Yucatán, desde las primeras compañías líricas del siglo XIX hasta las creaciones locales de las primeras décadas del siglo XX. El objetivo es presentar un panorama donde converjan las agrupaciones artísticas, protagonistas, repertorios y procesos de recepción, sin olvidar la vinculación con otras geografías y acontecimientos que sirvan para dimensionar el conocimiento y el contexto en relación con los eventos locales. Se analiza la conformación del gusto musical influenciado por el género lírico y se exponen los antecedentes del teatro lírico regional como resultado de las actividades en los teatros por parte de las compañías extranjeras y mexicanas con obras pertenecientes a los géneros de la zarzuela, ópera, opereta y bufo cubano. Como primer paso se realiza un estado de la cuestión para conocer el material existente sobre el tema. Posteriormente se elabora un discurso que pueda relacionar las investigaciones previas con aportaciones hemerográficas primordialmente para describir el derrotero de los géneros en el transcurso del período de años delimitados para esta memoria. Este lapso de tiempo comienza con la primera visita en el siglo XIX de una compañía artística significativa para la historiografía de la zarzuela en la región y concluye en la tercera década del siglo XX con las compañías de opereta convidadas para la temporada anual y las óperas vernáculas de temática maya. Estos acontecimientos se congregan alrededor del teatro Peón Contreras por ser el recinto más importante de la región sureste del país, pero igual se toma en consideración el movimiento acaecido en otros espacios teatrales del área...
This work is an exposition of a semblance of the zarzuela and the opera in Yucatan, from the early nineteenth century lyric companies to the local productions of the early twentieth century. The aim of the research is to present a panorama where artistic groups, actors, repertoires and the reception processes converge, taking into account possible links with other geographies and contemporary developments to support a proper dimension of knowledge and context in which local events unfold. The conformation of musical taste is analyzed, as well as the influence of the lyric genre, and the background antecedents of the regional lyric works as a result of the activities set forth in theaters by foreign and Mexican companies, which brought on stage those works from the zarzuela, opera, operetta and Cuban “bufo” genres. An initial discussion delves on the state of affairs and takes a look into the existing material on the subject. Then, the discourse flows into establishing a relationship between previous researches with mainly journals and magazines contributions to describe the itinerary of the genres in a period of a restricted number of years for this report. This lapse of time begins with the first visit in the 19th century of a significant artistic company for the historiography of zarzuela in the region, and ends in the third decade of the 20th century with the annual event that highlights the visit of the operetta troupes, as well as the Mayan-themed vernacular operas. These events congregate around the Peón Contreras Theatre, this being the most important venue in the Southeast region of the country; however, the activities in other theatrical spaces in the area are taken into consideration...
This work is an exposition of a semblance of the zarzuela and the opera in Yucatan, from the early nineteenth century lyric companies to the local productions of the early twentieth century. The aim of the research is to present a panorama where artistic groups, actors, repertoires and the reception processes converge, taking into account possible links with other geographies and contemporary developments to support a proper dimension of knowledge and context in which local events unfold. The conformation of musical taste is analyzed, as well as the influence of the lyric genre, and the background antecedents of the regional lyric works as a result of the activities set forth in theaters by foreign and Mexican companies, which brought on stage those works from the zarzuela, opera, operetta and Cuban “bufo” genres. An initial discussion delves on the state of affairs and takes a look into the existing material on the subject. Then, the discourse flows into establishing a relationship between previous researches with mainly journals and magazines contributions to describe the itinerary of the genres in a period of a restricted number of years for this report. This lapse of time begins with the first visit in the 19th century of a significant artistic company for the historiography of zarzuela in the region, and ends in the third decade of the 20th century with the annual event that highlights the visit of the operetta troupes, as well as the Mayan-themed vernacular operas. These events congregate around the Peón Contreras Theatre, this being the most important venue in the Southeast region of the country; however, the activities in other theatrical spaces in the area are taken into consideration...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, leída el 02-02-2016