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Daniela Silveira Dos Santos El nacimiento de la comedia: imaginario mítico en el cine de Charles Chaplin Daniela Silveira dos Santos TESI DOCTORAL UPF / 2014 DIRECTORA DE LA TESI Dra. Núria Bou DEPARTAMENT DE COMUNICACIÓ Para Mauricio y Sofia Agradecimientos Esta tesis no existiría si no me hubiera encontrado, hace unos años, con un libro inspirador: Diosas y tumbas: mitos femeninos en el cine de Hollywood. A su autora, Núria Bou, agradezco no sólo las ideas iluminadoras, sino también la confianza y el entusiasmo depositados en este trabajo: gracias por tus lecturas atentas, tus comentarios certeros y tus valiosas aportaciones. A Adolfo Villalón, Álvaro González, Amanda López, Ana Arcioni, Fernando García, Liliana Albuquerque, Pilar Talavera y Samuel Valiente, con cuya amabilidad he tenido la suerte de contar: muchísimas gracias. Aos meus queridos: Eli, Dê, Lu, Manu, por permanecerem tão próximos apesar de um oceano de distância. Às Silveiras: Selma, Ada, Carol, Vó, pelo carinho. Aos Gravanas: Ana Eva, Eloir, Marcelo, pela ajuda inestimável. À Rafaella, sem a qual o mundo seria muito mais chato. Aos meus pais, Adão e Sirlei, e à minha irmã, Danice: vocês são os melhores amigos que alguém poderia ter. Obrigada por tudo. Ao Mauricio, fonte inesgotável de apoio, carinho, paciência, força e generosidade: minha gratidão e meu amor por ti não conhecem limites. À Sofia, por tudo que ela nem sabe que me ensinou. Resumen Esta tesis investiga los orígenes arquetípicos de la comedia a través del personaje Charlot y busca dibujar y estructurar el imaginario mítico del cine de Charles Chaplin alrededor del arquetipo del niño. El estudio identifica tres grandes epifanías míticas en la obra de Chaplin –el Charlot burlesco, el Charlot angélico y Monsieur Verdoux– que revelan la dinámica interna coherente de su imaginario, a la vez que iluminan de diferentes maneras la esencia arquetípica del género cómico. Demostramos, por un lado, cómo el himno homérico a Hermes se configura como el relato que funda la comedia en la cultura occidental y, por otro, cómo el cine de Chaplin se erige como su más grande epifanía. Palabras clave: Comedia, cómico, burlesco, slapstick, cine, Chaplin, Charlot, Verdoux, Hermes, epifanía, imaginario, arquetipo, niño, trickster, símbolo, mito. Abstract This thesis examines the archetypical origins of comedy through the character The Tramp and intends to design and structure the mythical imaginary of Charles Chaplin’s cinema from the Child archetype. The study identifies three main mythical epiphanies in the work of Chaplin – the burlesque Tramp, the angelic Tramp and Monsieur Verdoux – that unveil the coherent internal dynamics of its imaginary, while they enlighten in different ways the archetypical essence of the comic genre. Firstly, it is demonstrated how the Homeric Hymn to Hermes sets the ground for comedy storytelling in Western culture, and secondly, how Chaplin’s cinema stands as its greatest epiphany. Key words: Comedy, comic, burlesque, slapstick, cinema, Chaplin, The Tramp, Verdoux, Hermes, epiphany, imaginary, archetype, child, trickster, symbol, myth. ÍNDICE Resumen ................................................................................ vii Introducción .......................................................................... 1 1. El nacimiento de la comedia: herencia mítica de Hermes a Charlot ................................................................. 7 La paradoja cómica ................................................................ 10 Puesta en escena cómica ........................................................ 14 El scene-stealer ...................................................................... 19 Ser o no ser Charlot ................................................................ 24 Lower-class characters .......................................................... 30 No place, anywhere ................................................................ 38 Ludus puerorum ..................................................................... 41 2. La invención del burlesco: del arquetipo del trickster a la epifanía del Tramp ............................................................ 53 El teatro de los pobres ............................................................ 58 La herencia carnavalesca ........................................................ 63 Estilo burlesco: ética vs. estética ............................................ 67 ¿Un cine primitivo? Gag visual y early slapstick ................... 71 La risa grotesca: anatomía del humor keystoniano ................ 76 La tajada de Pan: animalismo, baja comedia y lower bodily stratum .................................................................................... 82 Lo cómico titánico: persona y (psico)lógica burlesca ............ 89 La función trascendente .......................................................... 93 Estructuras sintéticas: del mischief gag a Charlot .................. 99 Del burlesco a la comedian comedy: la epifanía del Tramp ... 104 Les enfants du paradis ............................................................ 112 3. La epifanía angélica: pathos, kairós y niños divinos en la gran comedia chaplinesca ................................................ 121 Komikós, pathos y mythos ..................................................... 124 The little fellow in trouble ...................................................... 129 La suerte como aliada ............................................................. 132 La narrativa cíclica ................................................................. 136 El desenlace mítico ………..................................................... 141 Símbolos de la totalidad ………............................................. 144 El San Charlot ………............................................................ 150 El arquetipo mediador ............................................................ 154 El kairós cómico ..................................................................... 159 La puella aeterna ................................................................... 163 La epifanía angélica ................................................................ 168 El instante eterno .................................................................... 175 4. El mito del niño terrible: imaginario nocturno de Charlot a Verdoux ................................................................ 183 Hermes nocturno: comedia vs. terror ..................................... 190 Daimon y destino: la función demoníaca ............................... 196 Símbolos de la inversión ........................................................ 201 Símbolos de la intimidad ........................................................ 208 Los motivos de la influencia .................................................. 216 El mito del niño terrible ......................................................... 222 Monsieur Verdoux y el triunfo del humor ............................. 231 Conclusiones ......................................................................... 239 Bibliografía ........................................................................... 249 Filmografía ........................................................................... 261 INTRODUCCIÓN Quiero saber con qué ojos es necesario mirar el mundo para poder verlo tal como Chaplin. Sergei Eisenstein Cien años después de la primera aparición de Chaplin en una pantalla, todavía no ha sido posible, como presagiaba Walter Benjamin en 1929, “cristalizar una imagen definitiva del gran artista”1. Muchas fueron las hipótesis y teorías planteadas en este último siglo para explicar el alcance de su obra y la magnitud de su personaje. Diversos fueron los análisis y las metodologías empleadas en el intento de definir su desconcertante simplicidad. En uno de los primeros acercamientos a Chaplin como fenómeno histórico, el poeta Philippe Soupault, con ocasión del estreno de The circus (1928), sostenía que “la indiscutible superioridad” de sus películas estribaba en que “en ellas domina una poesía con la que cualquiera se topa en la vida, aunque, claro está, no siempre lo advierta”. El territorio originario de su arte no sería otro que la gran ciudad de Londres, donde “en su infinito deambular” Chaplin 1 BENJAMIN, Walter. “Chaplin, una mirada retrospectiva”. In: EISENSTEIN, Sergei et al. Charlie Chaplin. Madrid, Casimiro, 2010, p.60. 1 aprendió a observar el mundo2. Ello, para Benjamin, confirmaría la vieja certeza de que “sólo una mirada imaginativa que esté firmemente asentada en una sociedad… sabrá suscitar una gran, ininterrumpida y, sin embargo, altamente diferenciada resonancia en los distintos pueblos” 3 . El cine de Chaplin, de hecho, ha despertado en muchos casos una suerte de “identificación interpretativa”: así como Soupault veía poesía en sus películas, Bertolt Brecht lo consideraba un genio teatral, Hannah Arendt vislumbraba en Charlot la figura del judío errante, Vaslav Nijinsky afirmaba que la comedia de Chaplin era un ballet y Charlot un bailarín, mientras que Sergei Eisenstein comparaba las comedias de Chaplin con el socialismo. François Truffaut trazaba un paralelo entre Chaplin, cuya pobreza creía haber sido determinante de su éxito, con Jean-Luc Godard, quien al rodar su ópera prima “no tenía en el bolsillo ni para un billete de metro”4. En 1924, Henri Michaux escribió: “The Unanimists claim him as one of their own. He is also a Dadaist, a reaction against the romantic sensibility, a subject of psychoanalysis, a classicist, a primitive”5. Ado Kyrou,
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