Publication: La impronta de las danzas "indias" en Francia. El encuentro de las artes plásticas y escénicas, entre el exotismo y la modernidad (1838-1939)
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2019-03-06
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Universidad Complutense de Madrid
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Abstract
Esta tesis propone un estudio crítico de la influencia de las danzas de India y del Sudeste Asiático en el contexto artístico francés —atendiendo particularmente a las artes plásticas y escénicas— entre 1838 y 1939. A lo largo del siglo XIX el imaginario occidental europeo configuró la imagen de la bailarina india como encarnación del exótico Oriente, a partir de diversas fuentes en constante interacción. Partiendo de las crónicas de los viajeros que desde tiempos de Marco Polo habían prestado atención a las bailarinas del subcontinente, el ballet y la ópera de finales del siglo XVIII e inicios del XIX comenzaron a generar piezas de inspiración india en las que la aparición del personaje de la bayadera o bailarina de templo fue cada vez más frecuente. En esta atmósfera romántica, en 1838 hicieron su aparición en diversas ciudades europeas —entre las que se contó la capital francesa— las primeras bailarinas que viajaron desde un templo del sur de India sorprendiendo al público parisino. Desde esta fecha paradigmática, el presente trabajo ofrece un análisis de la recepción de las danzas indias en el contexto francés del periodo señalado, atendiendo a las citadas fuentes,así como a los espectáculos de danzas indias, de diversa naturaleza, que desde aquel año se hicieron cada vez más frecuentes en la ciudad de París...
This thesis poses a critical study on the influence of the Indian and SoutheastAsian dances in the French artistic panorama – with particular focus on the plastic and scenic arts – between 1838 and 1939.Throughout the 19th century, European imaginary configured the image of the Indian dancer as the incarnation of the exotic East taking as starting point a whole set of resources in permanent interaction. Drawing from the chronicles of travelers who, since the times of Marco Polo, had taken notice of the subcontinent dancers, ballet and opera from the end of the 18th and the beginning of the 19th century, began to produce Indian inspired pieces in which the appearance of the character of the Bayadere or dancer of the temple was progressively more common. It was in this romantic atmosphere that, in1838, the first dancers traveled from a temple located in south India to some European cities, including the French capital, taking aback the Parisian audience. Taking as starting point this paradigmatic date, the present work discloses an analysis of the reception of Indian dances in France during the aforementioned period and attending to the stated resources, as well as to the varied spectacles of Indian dances which, from that year on, started to be progressively more frequent in Paris...
This thesis poses a critical study on the influence of the Indian and SoutheastAsian dances in the French artistic panorama – with particular focus on the plastic and scenic arts – between 1838 and 1939.Throughout the 19th century, European imaginary configured the image of the Indian dancer as the incarnation of the exotic East taking as starting point a whole set of resources in permanent interaction. Drawing from the chronicles of travelers who, since the times of Marco Polo, had taken notice of the subcontinent dancers, ballet and opera from the end of the 18th and the beginning of the 19th century, began to produce Indian inspired pieces in which the appearance of the character of the Bayadere or dancer of the temple was progressively more common. It was in this romantic atmosphere that, in1838, the first dancers traveled from a temple located in south India to some European cities, including the French capital, taking aback the Parisian audience. Taking as starting point this paradigmatic date, the present work discloses an analysis of the reception of Indian dances in France during the aforementioned period and attending to the stated resources, as well as to the varied spectacles of Indian dances which, from that year on, started to be progressively more frequent in Paris...
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Tesis de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Historia del Arte, leída el 10/12/2018