Publication: La recepción del mito clásico grecolatino en el teatro español de los SS. XX-XXI: una herramienta de análisis
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2016-10-19
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Universidad Complutense de Madrid
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Abstract
El propósito de este trabajo de investigación es presentar una herramienta de análisis dramatúrgico que permita determinar si las obras que tienen un texto de origen como base han efectuado modificaciones que han tenido como consecuencia la generación de un texto nuevo distinto del original. Para ello hemos tomado el mito como elemento de partida, pues su presencia en la literatura occidental desde su origen nos permitía rastrear un grupo numeroso de obras actuales que tenían como punto de partida algún texto clásico grecolatino. Por este motivo hemos elaborado un catálogo en el que se reúnen las obras de autores españoles desde el inicio del s. XX que tienen como tema un mito, se base o no en un texto clásico. Desde nuestra perspectiva de análisis no era lo más interesante recopilar las traducciones que de esos textos se han realizado, especialmente si el texto que se ha elaborado tiene un alto grado de fidelidad y dependencia con respecto al original. Nos hemos centrado en los textos que, pensados para su puesta en escena, han realizado una adaptación, versión o reelaboración de los temas míticos, en los que se pueden rastrear las diferentes estrategias y herramientas usadas por los autores para introducir cambios significativos que hacen que se aleje de la fidelidad y que tengan una menor dependencia con respecto a un original. El catálogo que hemos reunido no solo recopila los textos, sino también las puestas en escena que han tenido como tema el mito, pues nos parecía fundamental mostrar los dos aspectos de la obra dramática, tanto en su faceta literaria como espectacular. Para poder realizar esta comparación entre las obras que en la Antigüedad tenían como tema el mito y las dramaturgias actuales había que establecer cuál era la situación del mito en su propia época y ver cómo se ha producido el proceso de comunicación hasta el presente de los mismos...
Western culture has experienced many vicissitudes since the beginning of the 20th century. Wars, economic crises, a considerable population growth, environmental degradation, discoveries, space travel, revolutions,... Indeed, in recent decades, an unparalleled revolution in history, technology, has changed the habits of culture. Technology has transformed communication processes, as we live immersed in a progressive modernization and computerization of the environment that have reached even the mundane. In this world of information overload and cultural globalization, the classical Greco-Roman myths have found their own place and have adapted to this realm in vertiginous transformation. Their masks and costumes have attracted modern people and have borrowed their voice to express the dilemmas and concerns of the present, which do not differ essentially from the tragedies and comedies of the past. The study context of this thesis is the field of Spanish theatre. The Spanish dramatic literature has not been immune to the reception of the Greco-Latin sources, however, in order to make them understandable and to achieve genuine communication with our times, myths have been adapted. Each playwright or director who has been at the prospect of switching and presenting myths to their contemporaries, has faced different dilemmas that have forced the former to consider the manner in which he/she could form a personal approach to the "mythical mass". The need to make an appropriate treatment for the purposes and receivers of their work has meant that each creator has developed strategies and tools in order to intervene in the mythical material. These dramaturgical resources and their use are the main axis to determine a pattern that allows us to discern between categories of adaptation, version, rewriting, reworking, revision or consolidation; and various names under which these works often appear in our theatre. In order to clarify these concepts it was essential to find wide enough material, which offered a possibility of analysis and, at the same time, had some subjects and starting texts, to take as a reference to determine the degree of transformation that occurs in a reworked text today. The myth appeared as an ideal support, as its roots, both in our culture and the universal one, gave it a great value as an example...
Western culture has experienced many vicissitudes since the beginning of the 20th century. Wars, economic crises, a considerable population growth, environmental degradation, discoveries, space travel, revolutions,... Indeed, in recent decades, an unparalleled revolution in history, technology, has changed the habits of culture. Technology has transformed communication processes, as we live immersed in a progressive modernization and computerization of the environment that have reached even the mundane. In this world of information overload and cultural globalization, the classical Greco-Roman myths have found their own place and have adapted to this realm in vertiginous transformation. Their masks and costumes have attracted modern people and have borrowed their voice to express the dilemmas and concerns of the present, which do not differ essentially from the tragedies and comedies of the past. The study context of this thesis is the field of Spanish theatre. The Spanish dramatic literature has not been immune to the reception of the Greco-Latin sources, however, in order to make them understandable and to achieve genuine communication with our times, myths have been adapted. Each playwright or director who has been at the prospect of switching and presenting myths to their contemporaries, has faced different dilemmas that have forced the former to consider the manner in which he/she could form a personal approach to the "mythical mass". The need to make an appropriate treatment for the purposes and receivers of their work has meant that each creator has developed strategies and tools in order to intervene in the mythical material. These dramaturgical resources and their use are the main axis to determine a pattern that allows us to discern between categories of adaptation, version, rewriting, reworking, revision or consolidation; and various names under which these works often appear in our theatre. In order to clarify these concepts it was essential to find wide enough material, which offered a possibility of analysis and, at the same time, had some subjects and starting texts, to take as a reference to determine the degree of transformation that occurs in a reworked text today. The myth appeared as an ideal support, as its roots, both in our culture and the universal one, gave it a great value as an example...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Filología Española II (Literatura Española), leída el 08/01/2016