La Obra Dramática De Brian Friel Y Su Repercusión En España

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La Obra Dramática De Brian Friel Y Su Repercusión En España DEPARTAMENT DE FILOLOGIA ANGLESA I ALEMANYA ÉRASE UNA VEZ BALLYBEG: LA OBRA DRAMÁTICA DE BRIAN FRIEL Y SU REPERCUSIÓN EN ESPAÑA. MARÍA GAVIÑA COSTERO UNIVERSITAT DE VALÈNCIA Servei de Publicacions 2011 Aquesta Tesi Doctoral va ser presentada a València el dia 6 de maig de 2011 davant un tribunal format per: - Dra. Teresa Caneda Cabrera - Dr. Vicent Montalt i Resurreció - Dra. Pilar Ezpeleta Piorno - Dra. Laura Monrós Gaspar - Dra. Ana R. Calero Valera Va ser dirigida per: Dr. Miguel Teruel Pozas ©Copyright: Servei de Publicacions María Gaviña Costero I.S.B.N.: 978-84-370-8215-8 Edita: Universitat de València Servei de Publicacions C/ Arts Gràfiques, 13 baix 46010 València Spain Telèfon:(0034)963864115 ÉRASE UA VEZ BALLYBEG: LA OBRA DRAMÁTICA DE BRIAN FRIEL Y SU REPERCUSIÓN EN ESPAÑA TESIS DOCTORAL Presentada por: María Gaviña Costero Director: Dr. Miguel Teruel Pozas I AGRADECIMIETOS Cuando enferma en el hospital de Omagh, en 1989, una amiga francesa me prestó un texto de un autor “local” para aligerar mi tedio, no podía ni imaginar lo que este hombre iba a significar para mí años más tarde. Christine fue la primera de una larga lista de personas involucradas en esta tesis. En todos estos años de trabajo son muchos los que se han visto damnificados por mi obsesión con Brian Friel, tanto es así que algunos se pueden considerar ya auténticos expertos. Sin la ayuda de todos ellos habría tirado la toalla en innumerables ocasiones. En primer lugar quiero agradecer a mi director de tesis, el doctor Miguel Teruel, que me propusiera un tema que me iba a apasionar según avanzaba en su estudio, y aún más, que me motivara todos estos años a continuar porque el trabajo merecía la pena, a pesar de todas mis dudas y vacilaciones. Le estoy muy agradecida por haber creído en mí bastante más que yo misma. Mi más sincero agradecimiento a las dos Anas, mi madre y mi compañera, que me han corregido y me han dado el empujón final. Ana R. ha actuado casi de comadrona en este laborioso parto. A mis tíos, Emilio y Mercedes, que me han acogido tantas veces en Barcelona cuando allí me llevaba el objeto de mi investigación, y han mostrado tanto entusiasmo por la misma. A Margaret y John Bradley, perfectos anfitriones en cada visita a Omagh, Irlanda del Norte. A Helen O’Neill, entusiasta amiga que se aventuró conmigo a visitar a Brian Friel, conduciendo casi cuatro horas por aquellas remotas y sinuosas carreteras. A Mary Doris, de Enniskillen, quien prestó su especial asesoramiento en el apartado de la historia de Irlanda. A Rosa, que proporcionaba habitación, ánimo e ideas en los necesarios viajes a Madrid. A Pilar Gil y José Manuel Odriozola, de la Universidad Pública de Navarra, por su ayuda con el euskera. A todos los actores, directores, productores, jefes de prensa y traductores de las producciones aquí II estudiadas, por su generosísima disposición a ayudar, dejarse entrevistar y proporcionar un material indispensable. Mención especial, por supuesto, para mis hijos, Débora, Aïna y Marcos, que saben más sobre Friel que yo misma, pues llevan toda su corta vida oyendo hablar de él, leyendo mis garabatos e incluso vinieron conmigo a visitarlo. Y por supuesto a Raül, sin el que no habría acabado jamás esta tesis... ni tantas otras cosas. III ÍDICE 1. ITRODUCCIÓ ..........................................................................................................5 2. COTEXTUALIZACIÓ DEL AUTOR Y SU OBRA .......................................... 13 2.a. Breve introducción a la historia de Irlanda ............................................ 13 2.b. El teatro en Irlanda en el siglo XX .......................................................... 22 3. BIOGRAFÍA DEL AUTOR ........................................................................................29 3.a. Listado cronológico de sus obras ............................................................. 36 4. ETAPAS E LA OBRA DRAMÁTICA DE BRIA FRIEL ..................................39 4.a. Introducción .............................................................................................. 39 4.b. Primeros pasos: tras la estela del maestro Guthrie: 1964-1970 ........... 44 4.b.1. Philadelphia, Here I Come! ..............................................................46 4.b.1.1. ¿Una “kitchen play” irlandesa?............................................. 46 4.b.1.2. Análisis de la obra................................................................. 48 4.b.1.3. Recepción y crítica................................................................ 56 4.b.2. The Loves of Cass McGuire ............................................................. 58 4.b.2.1. Volver a casa......................................................................... 58 4.b.2.2. Análisis de la obra................................................................. 59 4.b.2.3. Recepción y crítica................................................................ 65 4.b.3. Lovers: Winners and Losers ............................................................. 68 4.b.3.1. La pareja en dos momentos................................................... 68 4.b.3.2. Análisis de la obra................................................................. 71 4.b.3.3. Recepción y crítica................................................................ 75 4.b.4. Crystal and Fox ................................................................................ 76 4.b.4.1. No puedes cazar a un zorro................................................... 76 4.b.4.2. Análisis de la obra................................................................. 79 4.b.4.3. Recepción y crítica................................................................ 81 4.b.5. The Mundy Scheme ........................................................................... 83 4.b.5.1. La isla del descanso eterno.................................................... 83 4.b.5.2. Análisis de la obra................................................................. 87 4.b.5.3. Recepción y crítica................................................................ 91 4.c. La mano roja del Ulster: 1971-1979 ........................................................ 93 4.c.1. The Gentle Island .............................................................................. 95 4.c.1.1. Lejos de la Arcadia................................................................ 96 4.c.1.2. Análisis de la obra................................................................. 98 4.c.1.3. Recepción y crítica...............................................................105 1 4.c.2. The Freedom of the City ................................................................. 106 4.c.2.1. El informe Widgery............................................................. 107 4.c.2.2. Análisis de la obra................................................................ 110 4.c.2.3. Recepción y crítica............................................................... 121 4.c.3. Volunteers ........................................................................................ 124 4.c.3.1. Excavando en el presente.....................................................126 4.c.3.2. Análisis de la obra................................................................128 4.c.3.3. Recepción y crítica...............................................................138 4.c.4. Living Quarters ............................................................................... 139 4.c.4.1. Ocho personajes en busca de un error..................................140 4.c.4.2. Análisis de la obra................................................................145 4.c.4.3. Recepción y crítica...............................................................156 4.c.5. Aristocrats .......................................................................................158 4.c.5.1. El declive de la alta burguesía católica................................158 4.c.5.2. Análisis de la obra................................................................163 4.c.5.3. Recepción y crítica...............................................................178 4.c.6. Faith Healer .................................................................................... 181 4.c.6.1. El séptimo hijo de un séptimo hijo...................................... 181 4.c.6.2. Análisis de la obra................................................................ 187 4.c.6.3. Recepción y crítica............................................................... 206 4.d. Un día en el campo: 1980-1989 .............................................................. 208 4.d.1. Translations .................................................................................... 212 4.d.1.1. Renombrando Baile Beag.................................................... 213 4.d.1.2. Análisis de la obra............................................................... 215 4.d.1.3. Recepción y crítica.............................................................. 228 4.d.2. The Communication Cord ............................................................... 231 4.d.2.1. Una típica “Irish cottage”.................................................... 233 4.d.2.2. Análisis de la obra...............................................................235 4.d.2.3. Recepción y crítica..............................................................245 4.d.3. Making History ...............................................................................246 4.d.3.1. El Gran O’Neill...................................................................248
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