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El Centro De Experimentación Teatral Del Inba Y Sus Propuestas Escénicas © Jovita Millán Carranza Primera Edición: 2014 D

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El Centro De Experimentación Teatral Del Inba Y Sus Propuestas Escénicas © Jovita Millán Carranza Primera Edición: 2014 D Dibujo de portada: detalle del diseño de vestuario para Fausto Pachuco. Archivo César Pérez Soto. Jovita Millán Carranza El Centro de Experimentación Teatral del INBA El CentrodeExperimentaciónTeatral del INBA ysuspropuestasescénicas Jovita MillánCarranza Jovita Millán Carranza - CITRU El Centro de Experimentación Teatral el INBA y sus propuestas escénicas Director de arte Enrique Hernández Nava Formación Pablo Ramírez Reyes Corrección de estilo Javier Delgado Solís Cuidado editorial CITRU Rodolfo Obregón El Centro de Experimentación Teatral del INBA y sus propuestas escénicas © Jovita Millán Carranza Primera edición: 2014 D. R. © Instituto Nacional de Bellas Artes y Literatura Reforma y Campo Marte s/n, col. Chapultepec Polanco, Del. Miguel Hidalgo, C. P. 11560, México, D. F. ISBN: 978-607-605-265-5 Todos los derechos reservados. Queda prohibida la reproducción parcial o total de esta obra por cualquier medio o procedimiento, comprendidos la reprografía y el tratamiento informático, la fotocopia o la grabación, sin la previa autorización por escrito del Instituto Nacional de Bellas Artes. Impreso en México / Printed in Mexico Índice Introducción .................................................... 7 Capítulo I. El Centro de Experimentación Teatral (1965-1968) ..... 27 El teatro: Centro de Experimentación Teatral/Comonfort 72 ..... 34 Las obras ..................................................... 38 Cursos y talleres .............................................. 87 Consideraciones .............................................. 91 Capítulo II. El Centro de Experimentación Teatral (1977-1984) .... 103 El teatro: El Galeón ........................................... 105 El mitote ..................................................... 110 Las obras ..................................................... 111 Los talleres ................................................... 224 Consideraciones .............................................. 232 Capítulo III. El Centro de Experimentación Teatral (1985-1991) .... 245 Las obras ..................................................... 252 Consideraciones .............................................. 294 Bibliografía ..................................................... 309 Archivos consultados y entrevistas realizadas ................... 313 Anexos Cronología general ............................................ 315 Galería fotográfica............................................ 331 Introducción Relación del Estado con el teatro experimental En mayo de 1926, Salvador Novo y Xavier Villaurrutia hicieron una lectura dramatizada de La puerta de Lord Dunsany en el domicilio del entonces Se- cretario de Educación Pública José Manuel Puig Casauranc, con el objetivo de lograr su apoyo para echar a andar un proyecto de teatro experimental. La inestable situación política —en los albores de la guerra cristera— y un proyecto educativo enfocado a las masas populares con énfasis en la en- señanza rural, frustraron la propuesta, de tal modo que los poetas tuvieron que esperar hasta 1928 y contar con el entusiasmo y mecenazgo de Antonieta Rivas Mercado para iniciar las actividades del denominado Teatro de Ulises, grupo con el que, coinciden los estudiosos, se inició el desarrollo del teatro experimental en México. Con mejor suerte corrió Escolares del Teatro, grupo fundado y dirigido por Julio Bracho en 1931, que logró paradójicamente que el mismo Casau- ranc, Secretario de Educación por segunda vuelta —ahora en el periodo presi- dencial de Pascual Ortiz Rubio— subvencionara modestamente su proyecto y le otorgara el Teatro Orientación. Este asunto resulta relevante, toda vez que aún persistía la inestabilidad política en el país y que el proyecto educativo atravesaba un periodo de inestabilidad, como lo demuestra el hecho de que por la Secretaría de Edu- cación, entre 1928 y 1934, transitaran cinco titulares. Es probable que el éxito de este apoyo se debiera al particular interés del Jefe del Departamento de Bellas Artes, el doctor Alfonso Pruneda quien, de 1924 a 1928, había sido rector de la —todavía no autónoma— Universidad Nacional y que durante su gestión emprendiera un amplio proyecto de di- fusión cultural incorporando a los alumnos de la máxima casa de estudios en 8 JOVITA MILLÁN CARRANZA actividades educativas y artísticas, tales como las campañas de alfabetización y la impartición de conferencias en diversos foros. En apego al principio de política educativa que se proponía socializar el arte y la cultura, Pruneda abrió la puerta para que Julio Bracho, nombrado Jefe de la Sección de Teatro, pudiera llevar a la práctica su proyecto teatral. La presentación pública del grupo tuvo lugar el 2 de septiembre de 1931 con motivo de la inauguración de la Sala Orientación,1 evento al que asis- tieron, entre otros, el Subsecretario de Educación Alejandro Cerisola, el Oficial Mayor de la SEP, Higinio Vázquez Santana y desde luego, el doctor Pruneda, así como miembros destacados del teatro de la época como Fran- cisco Monterde y Xavier Villaurrutia. Luego del discurso inaugural a cargo de Celestino Gorostiza, inició el programa. A la interpretación por el Cuarteto Clásico Nacional del Cuar- teto para cuerdas No. 3 de Silvestre Revueltas y del recital de piano a cargo de Lupe Medina de Ortega y Carlos Chávez, tocó el turno a Escolares del Teatro que presentó La más fuerte de August Strindberg, que se escenificaba por primera vez en México. Con dirección de Julio Bracho, escenografía de Carlos González —a su vez director de la sala— y las actuaciones estelares de Isabela Corona y Car- men Doria, el grupo se presentó por segunda ocasión en el Tercer Festival de la SEP, celebrado el 11 de septiembre de ese año, nuevamente con La más fuerte, pero agregó la fábula en un acto Prometeo de Francisco Monterde. Con la puesta en escena de esta última, Bracho ofreció una satisfacción al doctor Pruneda quien justamente esperaba “…al mismo tiempo que algunas obras extranjeras de autores poco conocidos en México, y raramente represen- tados, sean llevadas a la escena, las de los autores mexicanos más destacados, así como de los desconocidos, sin distinciones de grupos ni de ideas”.2 1 Ubicada en la sede de la Secretaría de Educación Pública, cita en Luis González Obregón núm. 25. Aunque se conocía como Teatro Orientación se trataba en realidad de un salón de usos múltiples destinado tanto a actividades de música, artes plásticas, danza y desde luego, teatrales. La sala había sido construida con el objeto de subsanar la falta de espacios para difundir las actividades realizadas por el Departamento de Bellas Artes y que, particularmente en 1931, habían alcanzado una cifra sin precedentes desde su creación. 2 Cfr, Luis Mario Schneider. Fragua y gesta del teatro experimental en México. Teatro de Ulises. Escolares del Teatro. Teatro Orientación. México, UNAM/Coordinación de Difusión Cultural/Ediciones del Equilibrista, 1995. p. 74. INTRODUCCIÓN 9 Diez días después, esto es el 22 de septiembre, se llevó a cabo el cuarto cambio de titular de la SEP, cuando Puig Casauranc renunció a dicha Secre- taría para aceptar su nombramiento como Embajador de México en Estados Unidos. En su lugar quedó encargado del despacho el doctor Alejandro Cerizola Salcido quien mantuvo a Pruneda al frente del Departamento de Bellas Artes, lo que dio oportunidad al grupo de Bracho de presentarse nuevamente. La tercera y última aparición de Escolares del Teatro se realizó el 2 de octubre con Jinetes hacia el mar de John M. Synge. Después de esto el grupo se desintegró debido posiblemente a un conflicto entre el director y los miembros del Conservatorio que formaban parte del elenco, pues en un comentario anónimo publicado en la prensa, uno de sus miembros manifestó su inconformidad por la imposición de la obra de Monterde. Pero acaso el motivo principal residiera en el cambio de autoridades en la SEP, toda vez que el quinto y último relevo llevó a Narciso Bassols a la titularidad de esta Secretaría y a José Gorostiza y su hermano Celestino, a la Jefatura del Departamento de Bellas Artes y a la Sección de Teatro res- pectivamente, reemplazando a Alfonso Pruneda y a Julio Bracho en estas instancias. Poco estudiado y valorado, Escolares del Teatro se ubicó históricamente entre el Teatro de Ulises y Teatro de Orientación, imponiendo una nueva forma de trabajo distinta del primero en el sentido de que dio al director el papel de orquestador de la puesta en escena (sin ser él mismo actor), creó una nueva generación de actores formados en la disciplina y llevó al escenario la primera obra de autor mexicano en el marco de la experimentación. En su libro Imagen del Teatro, Antonio Magaña Esquivel destaca las aportaciones de Bracho al teatro experimental de la siguiente manera: • Pone los cimientos de un tipo de teatro experimental de mayor efi- cacia • Busca, apartado del profesionalismo, la interpretación más pura en sus actores • Busca una especial función de la pintura • Le preocupa, sobre todo, el problema de la dirección escénica y sus relaciones con los comediantes 10 JOVITA MILLÁN CARRANZA • Apoyado en el rígido sometimiento de las individualidades teatrales a la armonía del conjunto, ensaya el más justo equilibrio escénico.3 Por otra parte, Escolares del Teatro se constituyó como la primera iniciativa del Estado para promover e impulsar el teatro experimental y estableció el modelo de relación que, con algunas variantes, habría de entablar con estos grupos en lo sucesivo. A partir de esta primera experiencia, el proyecto del Teatro de Orienta- ción,
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