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Fundamentos Del Teatro Epico

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Fundamentos Del Teatro Epico DEPARTAMENTO DE FILOLOGÍA INGLESA Y ALEMANA INFLUENCIA DE LAS PUESTAS EN ESCENA BRECHTIANAS: EL EJEMPLO DE E. BONI Mª VICTORIA GASPAR VERDÚ UNIVERSITAT DE VALENCIA Servei de Publicacions 2003 Aquesta Tesi Doctoral va ser presentada a Valencia el día 04 d’ Octubre de 2003 davant un tribunal format per: - Dr. D. Miguel Teruel Pozas - Dra. Dª. Karen Andressen Jokisc - Dra. Dª. Victoria Guillén Nieto - Dra. Dª. Hildegard Klein Hagen - Dr. D. José Ramón Prado Pérez Va ser dirigida per: Dr. D. Juan Vicente Martínez Luciano ©Copyright: Servei de Publicacions Mª Victoria Gaspar Verdú Depòsit legal: I.S.B.N.:84-370-5892-9 Edita: Universitat de València Servei de Publicacions C/ Artes Gráficas, 13 bajo 46010 València Spain Telèfon: 963864115 INDICE DE CONTENIDOS. 0. INTRODUCCIÓN 7 1. LOS FUNDAMENTOS DEL TEATRO ÉPICO 11 1.1. LOS FUNDAMENTOS DEL TEATRO ÉPICO DE BRECHT. CORRIENTES Y AUTORES QUE INFLUYEN EN SU CONCEPCIÓN...................................................................................................13 1.1.1. LA CONTRAPOSICIÓN AL TEATRO NATURALISTA .................................................................25 1.1.2. EL VERFERMDUNGSEFFEKT O EFECTO DISTANCIAMIENTO ..............................................29 1.1.2.a. Definición de distanciamiento.................................................................................33 1.1.2.b. El distanciamiento estético del escenario................................................................35 1.1.2.c. Antiguos efectos de distanciamiento empleados por el teatro épico.......................39 1.1.2.d. Distanciamiento de personajes................................................................................43 1.1.2.e. Distanciamiento de la historia.................................................................................49 1.1.2.f. Distanciamiento de la música ..................................................................................54 1.1.2.f.a. El empleo de songs como elemento distanciador en el teatro épico ............57 1.1.2.f.b. El empleo del coro como elemento distanciador en el teatro épico.........63 1.1.2.g. El distanciamiento de la escenografía en su conjunto.............................................67 1.1.2.h. Distanciamiento en Herr Puntila uns Sein Knecht Matti: prólogo, canciones cortas entre las escenas y proyección de títulos ......................................................72 1.1.2.i. Distanciamiento en Die Dreigrosschenoper: empleo de canciones cortas y proyección de títulos ..............................................................................................75 2. BERTOLT BRECHT Y EDWARD BOND 81 2.1. EL TEATRO BRITÁNICO EN LOS AÑOS 50...................................................................................83 2.1.1. SITUACIÓN HISTÓRICO-POLÍTICA EN EL TEATRO BRITÁNICO DE LOS AÑOS 50: ...................84 1 2.1.2. PRINCIPALES CORRIENTES TEATRALES EN EL TEATRO BRITÁNICO DE LOS 50. ....................85 2.1.3. PRIMERA OLA DE ESCRITORES, LOS ANGRY YOUNG MEN.......................................................88 2.1.4. EL TEATRO PROLETARIO Y POLÍTICO EN GRAN BRETAÑA, AÑOS 50 ....................................90 2.1.5. LA CREACIÓN DE COMPAÑÍAS ..............................................................................................93 2.1.5.a. La English Stage Company y el Royal Court Theatre ............................................94 2.1.5.b. Joan Littlewood y su Theatre Workshop................................................................96 2.1.5.c. La Royal Shakespeary Company.............................................................................98 2.2. LA BERLINER ENSEMBLE LLEGA A LONDRES. EL TEATRO ÉPICO DE BERTOLT BRECHT EN GRAN BRETAÑA.........................................................................................................................101 2.3. INFLUENCIA DE BERTOLT BRECHT EN EDWARD BOND .........................................................109 2.3.1. LA MEDIACIÓN DE GASKILL ENTRE BRECHT Y BOND.......................................................120 2.3.2. EL GESTUS SOCIAL EN BRECHT Y EN BOND .......................................................................124 2.3.3. LA ESCENA COMO UNIDAD INDEPENDIENTE EN BRECHT Y EN BOND ................................129 2.3.4. BRECHT Y EL TEATRO PROLETARIO ..................................................................................137 2.3.5. BOND Y EL TEATRO SOCIALISTA ......................................................................................139 3. SIMILITUDES ENTRE EL TEATRO ÉPICO DE BRECHT Y EL TEATRO RACIONAL DE BOND 145 3.1. INTRODUCCIÓN A LAS SIMILITUDES ENTRE EL TEATRO ÉPICO DE BRECHT Y EL TEATRO RACIONAL DE BOND.................................................................................................................146 3.2. SIMILITUDES EN LOS FUNDAMENTOS TEÓRICOS DEL TEATRO ÉPICO DE BRECHT Y DEL TEATRO RACIONAL DE BOND..................................................................................................150 3.2.1. TEATRO ÉPICO Y TEATRO RACIONAL; RECHAZO AL TEATRO BURGUÉS Y ACEPTACIÓN DEL TEATRO ÉPICO ....................................................................................................................152 3.2.2. EL INTERÉS POR LA CIENCIA EN AMBOS TEATROS ............................................................154 3.2.3. LA IMPLICACIÓN DE LA AUDIENCIA EN AMBOS TEATROS .......................................156 3.2.4. LA CONCEPCIÓN DIDÁCTICA DEL TEATRO EN AMBOS AUTORES........................................158 2 3.2.4.a. La evolución didáctica de los personajes bondonianos.........................................161 3.2.5. TEATROS DE DENUNCIA SOCIAL Y POLÍTICA ......................................................................163 3.3. ESTRATEGIAS TEATRALES COMUNES EN EL TEATRO ÉPICO DE BRECHT Y EL TEATRO RACIONAL DE BOND .................................................................................................................167 3.3.1. LA PUESTA EN ESCENA MINIMALISTA EN BRECHT Y EN BOND .........................................168 3.3.2. EL MODO DE ACTUAR DISTANCIADO EN BRECHT Y EN BOND ...........................................183 3.3.2.a. El T-acting:............................................................................................................191 3.3.2.b. El Theatre- event...................................................................................................193 3.3.2.b.a. Relación entre el T- event y el gestus brechtiano ......................................196 3.3.2.b.b. El T- event en The Woman ........................................................................197 3.3.2.c. El Aggro-effect ......................................................................................................199 3.3.2.c.a. El Aggro- effect como contraposición al efecto distanciamiento................201 3.3.2.c.b. Ejemplo de Saved ......................................................................................203 3.3.2.c.c. Ejemplo de Lear .........................................................................................205 3.3.3. EL SOLILOQUIO EN BRECHT Y EN BOND.............................................................................208 3.3.3.a. Ejemplo de Leben des Galilei ..............................................................................209 3.3.3.b. Ejemplo de Die Mutter.........................................................................................210 3.3.3.c. Ejemplo de In the Company of Men.....................................................................216 3.3.3.d. Ejemplo de The Worlds.........................................................................................217 3.3.4. LA PARABOLA EN BRECHT Y EN BOND..............................................................................219 3.3.4.a. Parábolas políticas de Brecht y Bond contra la guerra.........................................222 3.3.4.b. el ejemplo de Lear, We Come to the River, Stone, The War Plays.......................225 3.3.5. EL DISTANCIAMIENTO MUSICAL EN BERTOLT BRECHT: DIE DREIGROSSCHENOPER Y MANN IST MANN. ............................................................................................................................236 3.3.5.a. El empleo del coro y del song en las obras de Brecht.........................................246 3.3.6. EL DISTANCIAMIENTO MUSICAL EN EDWARD BOND: JACKETS Y RESTORATION................261 3.3.6.a. El empleo del coro y del song en las obras de Bond.............................................265 3 3.3.6.b. Ejemplo del coro en STONE, RESTORATION, NARROW ROAD TO THE DEEP NORTH..................................................................................................................272 4. LAS ESTRATEGIAS DRAMÁTICAS DEL TEATRO ÉPICO DE BRECHT EN LA OBRA DE BOND: ESTUDIO COMPARATIVO ENTRE DER KAUKASISCHE KREIDEKREIS Y NARROW ROAD TO THE DEEP NORTH. 279 4.1. INTRODUCCIÓN .........................................................................................................................280 4.2. JUSTICIA POLÍTICA Y SOCIAL...................................................................................................287 4.3. LA INFLUENCIA ORIENTAL .......................................................................................................297 4.4. EL CONCEPTO DE SOCIEDAD ....................................................................................................309 4.5. LA ESCASEZ DE ESCENARIO ...................................................................................................316
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