Publication: El poder de la escena : pintura para danza durante el franquismo
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2022-09-16
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Universidad Complutense de Madrid
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Abstract
Esta tesis doctoral aborda el estudio crítico de la cultura visual y material vinculada a las puestas en escena de danza escénica española durante la Dictadura Franquista (1939-1975). Estos espectáculos fueron creados a partir de un modelo interdisciplinar implantado por los Ballets Russes de Sergei Diaghilev durante el primer tercio del siglo XX. Los Ballets Russes adaptaron la idea de la «obra de arte total» de Richard Wagner a la danza y con ello provocaron una participación de artistas plásticos sobre la escena sin precedentes, los cuales realizaron los decorados de sus actuaciones. Su modelo fue emulado por distintas compañías de danza internacionales desde su aparición en 1909. Entre ellas, también se encuentra la de los Ballets Espagnols, de Antonia Mercé la Argentina. En el período que nos ocupa las compañías de danza española que tomaron como referencia estos antecedentes proliferaron en un número sin precedentes. Su capacidad de condensar y representar los valores de la nación hizo de ellas un gran instrumento de propaganda y se convirtieron en un poder blando del régimen. Si bien el rol propagandístico de estos espectáculos ya ha sido puesto en relación con algunas de las políticas musicales del franquismo, esta investigación se interroga sobre las consecuencias de las conexiones entre la danza y la pintura con el fin de poner en valor la importancia de lo visual en estos espectáculos en su dimensión simbólica y biopolítica. Con ello, se busca explorar otras dinámicas que afectaban a la cultural artística de una forma más general más allá de las narrativas hegemónicas del período al que se adscriben. Con el fin de entender la supervivencia de determinados modelos y legados de preguerra en el periodo estudiado, se ha puesto el foco en las perspectivas de análisis políticas, estéticas y genealógicas...
This doctoral dissertation addresses the critical study of visual and material culture linked to the staging of Spanish dance during the Franco dictatorship (1939-1975). These shows were created from an interdisciplinary model implemented by Sergei Diaghilev’s Ballets Russes during the first third of the twentieth century. The Ballets Russes adapted the idea of Richard Wagner’s “total artwork” to dance, and thus caused an unprecedented participation of visual artists on stage, who created the sets for their own performances. This model was emulated by different international dance companies since its appearance in 1909. Among them, there is the Ballets Espagnols, by Antonia Mercé la Argentina.During the period in question, Spanish dance companies that took this model as reference proliferated in an unprecedented number. Their ability to condense and represent the values of the nation made them a great propaganda instrument, and they became a soft power of the regime.Although the propaganda role of these shows has already been put in relation to some of the musical policies of the Franco regime, this research questions the consequences of the connections between dance and painting, in order to value the importance of the visual dimension in these shows, from a symbolic and biopolitical perspective. With this, it seeks to explore other dynamics that affected artistic culture in a more general, way beyond the hegemonic narratives of the period to which they are assigned. In order to understand the survival of certain prewar models and legacies in the period studied, the focus has been placed on the perspectives of political, aesthetic, and genealogical analysis...
This doctoral dissertation addresses the critical study of visual and material culture linked to the staging of Spanish dance during the Franco dictatorship (1939-1975). These shows were created from an interdisciplinary model implemented by Sergei Diaghilev’s Ballets Russes during the first third of the twentieth century. The Ballets Russes adapted the idea of Richard Wagner’s “total artwork” to dance, and thus caused an unprecedented participation of visual artists on stage, who created the sets for their own performances. This model was emulated by different international dance companies since its appearance in 1909. Among them, there is the Ballets Espagnols, by Antonia Mercé la Argentina.During the period in question, Spanish dance companies that took this model as reference proliferated in an unprecedented number. Their ability to condense and represent the values of the nation made them a great propaganda instrument, and they became a soft power of the regime.Although the propaganda role of these shows has already been put in relation to some of the musical policies of the Franco regime, this research questions the consequences of the connections between dance and painting, in order to value the importance of the visual dimension in these shows, from a symbolic and biopolitical perspective. With this, it seeks to explore other dynamics that affected artistic culture in a more general, way beyond the hegemonic narratives of the period to which they are assigned. In order to understand the survival of certain prewar models and legacies in the period studied, the focus has been placed on the perspectives of political, aesthetic, and genealogical analysis...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, leída el 19-05-2022