Publication: El ballet prerromántico en Madrid (1787-1833)
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2019-03-06
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Universidad Complutense de Madrid
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Abstract
El reabrir del Teatro de los Caños del Peral de Madrid en 1787 supuso un cambio importante en la vida teatral de Madrid, se reiniciaban las temporadas regulares en un teatro municipal que tomaba como modelo el teatro de la ópera italiana. Ello significaba que un elemento imprescindible en los espectáculos también se representarían: los ballets. El ballet en estas fechas del siglo ya se emancipó de la ópera aunque todavía en la mayoría de los teatros de Europa se representaba antes, después o entre actos de la ópera. En Madrid el mismo modo de funciones seguían empleándose hasta finales de 1797, cuando incorporaron una tercera compañía, la de cómicos españoles. Desde entonces el teatro se encaminó a un destino que cristalizó en el siglo siguiente, formando su propio estilo a partir del ballet de la tradición europea. Los primeros años de una nueva diversión para el pueblo, en el seno de las ideas ilustradas, estaban apoyados económicamente por los nobles, pero en medida del crecimiento de las pérdidas, estos se retiraron. Fueron los espectáculos de costes muy elevados para mantenerse solamente con las entradas. Asimismo fueron tiempos duros tanto para Europa y España, la Revolución Francesa, guerras, crisis económica, devaluación de papel moneda, culminando con un creciente espíritu nacionalista que aceleró la decisión del rey y del gobierno de cerrar el teatro y expulsar a los extranjeros con una dura prohibición de actuar en España. La orden se cumplió solamente en Madrid, no obstante fue suficiente para alterar la herencia de las trece temporadas y no recuperarse en décadas. Además de Domenico Rossi, discípulo de Jean-Georges Noverre, Los Caños fue el escenario para los bailarines coreógrafos con talento como Salvatore Viganò, Carlos Augusto Favier, Giovanni Monticini, Juan Medina, Jean-Pierre Giraud, Alexis Huard y André-Jean-Jaques Deshayes. En el primer tercio del siglo XIX el ballet prerromántico de Madrid estaba intentando sobrevivir. Finalmente se formó un nuevo estilo coreográfico muy particular el cual no existió en Europa, la fusión de lenguajes del ballet y de las danza española. Esta tesis estudia el funcionamiento del Teatro de los Caños del Peral, su programación y en la medida de lo posible analiza el repertorio coreográfico de cuarenta y seis años. Estudiamos 56 ballets de finales del siglo XVIII y 10 del XIX, los cuales muestran de la existencia de la tradición del ballet, en algunos momentos latente, pero distinto.
The reopening of the Teatro de los Caños del Peral in Madrid in 1787 was a major change in the theatrical life of Madrid, regular seasons were restarted in a municipal theater that took as its model the Italian opera theater. This meant that an essential element in the performances it would also be represented: the ballets. The ballet at this time of the century was emancipated from the opera although still in most of the theaters of Europe was represented before, after or between acts of opera, the same mode of functions were still used until the end of 1797, when they incorporated a third company, it was the company of the Spanish actors. Since then the theater has gone to a destination that crystallized in the following century, forming its own style from the ballet of the European tradition. The first years of a new amusement for the people, in the heart of the enlightened ideas, was supported economically by the nobles, but as the losses increased, they withdrew. These performances were very high cost shows to keep only with the tickets. They were also hard times for both Europe and Spain, the French Revolution, wars, economic crisis, devaluation of paper money, culminating with a growing nationalist spirit that accelerated the decision of the king and the government to close the theater and expel foreigners with a Prohibition to act in Spain. The order was only fulfilled in Madrid, however it was enough to destroy the inheritance of the thirteen seasons and not recover in decades. In addition to Domenico Rossi, disciple of Jean-Georges Noverre, Los Caños was the setting for talented choreographers such as Salvatore Viganò, Carlos Augusto Favier, Giovanni Monticini, Juan Medina, Jean-Pierre Giraud, Alexis Huard and André-Jean- Jaques Deshayes. In the first third of the nineteenth century the pre-Romantic ballet of Madrid was trying to survive. Finally, a new, very particular choreographic style was formed which did not exist in Europe, the fusion of languages of ballet and Spanish dance. This thesis studies the functioning of the Teatro de los Caños del Peral, its programming and, to the extent possible, analyzes the choreographic repertoire of fortysix years. We studied 56 ballets from the late eighteenth and nineteenth centuries, which show the existence of the ballet tradition, at times latent, but different.
The reopening of the Teatro de los Caños del Peral in Madrid in 1787 was a major change in the theatrical life of Madrid, regular seasons were restarted in a municipal theater that took as its model the Italian opera theater. This meant that an essential element in the performances it would also be represented: the ballets. The ballet at this time of the century was emancipated from the opera although still in most of the theaters of Europe was represented before, after or between acts of opera, the same mode of functions were still used until the end of 1797, when they incorporated a third company, it was the company of the Spanish actors. Since then the theater has gone to a destination that crystallized in the following century, forming its own style from the ballet of the European tradition. The first years of a new amusement for the people, in the heart of the enlightened ideas, was supported economically by the nobles, but as the losses increased, they withdrew. These performances were very high cost shows to keep only with the tickets. They were also hard times for both Europe and Spain, the French Revolution, wars, economic crisis, devaluation of paper money, culminating with a growing nationalist spirit that accelerated the decision of the king and the government to close the theater and expel foreigners with a Prohibition to act in Spain. The order was only fulfilled in Madrid, however it was enough to destroy the inheritance of the thirteen seasons and not recover in decades. In addition to Domenico Rossi, disciple of Jean-Georges Noverre, Los Caños was the setting for talented choreographers such as Salvatore Viganò, Carlos Augusto Favier, Giovanni Monticini, Juan Medina, Jean-Pierre Giraud, Alexis Huard and André-Jean- Jaques Deshayes. In the first third of the nineteenth century the pre-Romantic ballet of Madrid was trying to survive. Finally, a new, very particular choreographic style was formed which did not exist in Europe, the fusion of languages of ballet and Spanish dance. This thesis studies the functioning of the Teatro de los Caños del Peral, its programming and, to the extent possible, analyzes the choreographic repertoire of fortysix years. We studied 56 ballets from the late eighteenth and nineteenth centuries, which show the existence of the ballet tradition, at times latent, but different.
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Tesis de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Musicología, leída el 18/12/2018