Publication: La puesta en escena de la serie de comedias de magia "Cuando hay falta de hechiceros lo quieren ser los gallegos" y "Asombro de Salamanca" (1741-1775), de Nicolás González Martínez
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2016-10-21
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Universidad Complutense de Madrid
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Abstract
Esta tesis comienza en el punto donde concluía el trabajo pionero sobre comedia de magia del XVIII emprendido por Joaquín Álvarez Barrientos. Planteaba él entonces la necesidad de saber más sobre los hombres y mujeres de la época para comprender mejor la comedia de magia como género escénico, con el objetivo de responder la pregunta que tantos dieciochistas nos hemos hecho: ¿por qué la comedia de magia tuvo tanto éxito? Mi investigación partió también de sus respuestas: se debió, sobre todo, a motivos ideológicos y espectaculares. Comprender la comedia de magia como género escénico quiere decir comprender todos los mecanismos de la materialidad de su puesta en escena y de la relación establecida entre espectáculo y espectadores. Implica comprender la teatralidad a un nivel que no es solo textual, sino físico y relacional. Las relaciones y reacciones que desataba la comedia de magia eran tremendamente pasionales y opuestas, como demuestran los datos de que disponemos: las espectaculares recaudaciones, de un lado, y las múltiples diatribas y prohibiciones, de otro. Así que, la siguiente pregunta que era necesario plantear era: ¿por qué molestaban tanto las comedias de magia? En el siglo XVIII ocurrió un acontecimiento especialmente traumático, el denominado «Motín contra Esquilache», que tuvo numerosas consecuencias para la sociedad en general pero, sobre todo, para el teatro. De hecho, una de las primeras medidas que el gobierno del conde de Aranda emprende nada más acabar con las revueltas es la Reforma del teatro. Haciendo un razonamiento inverso, surgía la hipótesis de que el teatro, en un sentido amplio, y en concreto la comedia de magia, hubiera tenido más intervención en el motín de lo que se piensa, tanto por sus temáticas, como por las posibilidades de encuentro y organización social que la asistencia al teatro propiciaba. Surgía pues, la necesidad de profundizar en la reconstrucción de una teoría estética de la comedia de magia, así como de estudiar el hecho teatral durante los años centrales del siglo, en concreto, desde la construcción de los nuevos coliseos, pues parecía probable que el cambio de espacio hubiera propiciado algún cambio de mentalidad…
This thesis begins at the point where the pioneering work on comedia de magia in the eighteenth century undertaken by Joaquín Álvarez Barrientos ended. He suggested back then the need to know more about the men and women of the age in order to better understand the comedia de magia as a performative genre, with the aim of answering the question so many scholars of the 18th century have asked: Why were the comedias de magia so successful? My own investigation was also built on his answers: it was due, above all, to ideological and spectacular reasons. Understanding the comedia de magia as a genre implies understanding all the workings of the material nature of its staging, as well as the relationship established between performance and audience. It means understanding its theatricality not only at a textual level, but also at a physical and relational one. The relations and reactions that the comedias de magia provoked were highly emotional and antagonistic, as the data that we have indicates: the amazing box office revenues and the many rants and prohibitions. Thus, the next question worth asking was: Why were the comedias de magia so disruptive? A particularly traumatic incident took place in the 18th century, the so called «Esquilache Riots», which had numerous consequences for society as a whole, but particularly for theatre. In fact, one of the first measures taken by the government of the Count of Aranda in the wake of the riots was the Reform of dramatic arts. Following reverse logic came up the hypothesis of theatre, in a broad sense, and specifically comedias de magia, playing a bigger role in the riots than previously thought, so much for its contents, as well as for the opportunities for social integration and organization that going to the theatre provided. Thus arose the need for further work in the rebuilding of an aesthetic theory of the comedia de magia, as well as to research the performance development during the mid-century, specifically from the building of the new coliseos, since it seems likely that the change of venues might have provoked some changes in mentality...
This thesis begins at the point where the pioneering work on comedia de magia in the eighteenth century undertaken by Joaquín Álvarez Barrientos ended. He suggested back then the need to know more about the men and women of the age in order to better understand the comedia de magia as a performative genre, with the aim of answering the question so many scholars of the 18th century have asked: Why were the comedias de magia so successful? My own investigation was also built on his answers: it was due, above all, to ideological and spectacular reasons. Understanding the comedia de magia as a genre implies understanding all the workings of the material nature of its staging, as well as the relationship established between performance and audience. It means understanding its theatricality not only at a textual level, but also at a physical and relational one. The relations and reactions that the comedias de magia provoked were highly emotional and antagonistic, as the data that we have indicates: the amazing box office revenues and the many rants and prohibitions. Thus, the next question worth asking was: Why were the comedias de magia so disruptive? A particularly traumatic incident took place in the 18th century, the so called «Esquilache Riots», which had numerous consequences for society as a whole, but particularly for theatre. In fact, one of the first measures taken by the government of the Count of Aranda in the wake of the riots was the Reform of dramatic arts. Following reverse logic came up the hypothesis of theatre, in a broad sense, and specifically comedias de magia, playing a bigger role in the riots than previously thought, so much for its contents, as well as for the opportunities for social integration and organization that going to the theatre provided. Thus arose the need for further work in the rebuilding of an aesthetic theory of the comedia de magia, as well as to research the performance development during the mid-century, specifically from the building of the new coliseos, since it seems likely that the change of venues might have provoked some changes in mentality...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Filología Española II (Literatura Española), leída el 26/01/2016