Publication: Hacia una poética del teatro social (1949-1968): España e Inglaterra
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2017-11-13
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Universidad Complutense de Madrid
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Abstract
El llamado teatro de la Generación Realista, cuya labor dramática podemos situar entre 1949 y 1968, ha sido estudiado, tradicionalmente, desde un punto de vista eminentemente nacional, de acuerdo a unas supuestas particularidades y semejanzas que nada tenían que ver con el panorama teatral europeo del momento. Sin embargo, durante su período de actividad, la crítica y parte de los hacedores teatrales más reformistas estuvieron muy abiertos a los estímulos extranjeros hasta el punto de considerar a los dramaturgos de la llamada New Wave británica compañeros en una misma batalla: la de acercar su creación a la auténtica realidad social, escamoteada u obviada por el teatro comercial. Objetivos Agotada la veta del teatro social de cuño realista, el interés por los Angry Young Men y, en definitiva, por el teatro comprometido inglés decayó hasta alcanzar la total desaparición de escenarios y medios especializados. A pesar de que algunos estudios han puesto de manifiesto las semejanzas existentes entre una tradición y otra –Fernández Insuela (1978), Oliva (1989), Cornago (2003)– ningún trabajo ha ahondado en los textos para refrendar esas semejanzas. Precisamente es este el hueco que nuestra tesis pretende cubrir, poniendo en contacto las obras más destacadas en ambas latitudes para determinar el alcance de dichas semejanzas o divergencias...
The so-called Generación Realista, whose dramatic work we can place between 1949 and 1968, has traditionally been studied from an eminently national point of view, according to alleged particularities and similarities which set each of them apart, and made each country’s production an alien to the rest of Europe’s theatre of that time. Nevertheless, during the period, the critics and, to some extent, the very creators (at least the most reformist of them) were open to external stimulus, going as far as considering the playwright of the so-called British New Wave, peers at the same battle: that of bringing its creations closer to the authentic social reality, ignored, vanished, if not altogether omitted at the commercial theatres. Goals Once the vein opened by realist social theatre got exhausted, interest for Angry Young Men and, ultimately, for any form of committed British theatre plummeted to the point of its almost utter demise from stages and specialized media. Even though some essays have brought attention to the similarities between the different European traditions –Fernández Insuela (1978), Oliva (1989), Cornago (2003)– none of them have explored at length the plays themselves to validate such resemblances. It’s precisely this dissertation’s goal to cover such void, bringing together plays from both latitudes in order to determine exhaustively the similarities or divergences between them...
The so-called Generación Realista, whose dramatic work we can place between 1949 and 1968, has traditionally been studied from an eminently national point of view, according to alleged particularities and similarities which set each of them apart, and made each country’s production an alien to the rest of Europe’s theatre of that time. Nevertheless, during the period, the critics and, to some extent, the very creators (at least the most reformist of them) were open to external stimulus, going as far as considering the playwright of the so-called British New Wave, peers at the same battle: that of bringing its creations closer to the authentic social reality, ignored, vanished, if not altogether omitted at the commercial theatres. Goals Once the vein opened by realist social theatre got exhausted, interest for Angry Young Men and, ultimately, for any form of committed British theatre plummeted to the point of its almost utter demise from stages and specialized media. Even though some essays have brought attention to the similarities between the different European traditions –Fernández Insuela (1978), Oliva (1989), Cornago (2003)– none of them have explored at length the plays themselves to validate such resemblances. It’s precisely this dissertation’s goal to cover such void, bringing together plays from both latitudes in order to determine exhaustively the similarities or divergences between them...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Filología Española II, leída el 11-07-2017