PETER BROOK Motivos Y Estrategias

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PETER BROOK Motivos Y Estrategias UNIVERSIDAD DE GRANADA FUNDAMENTOS DE LA PUESTA EN ESCENA EN EL TEATRO DE PETER BROOK Motivos y estrategias TESIS DOCTORAL FUNDAMENTOS DE LA PUESTA EN ESCENA EN EL TEATRO DE PETER BROOK Motivos y estrategias Autor Juan Antonio Bottaro Montoto Directores María José Sánchez Montes Carlos Alba Peinado Departamento de Lingüística General y Teoría de la Literatura Granada 2014 Editor: Editorial de la Universidad de Granada Autor: Juan Antonio Bottaro Montoto D.L.: GR 2119-2014 ISBN: 978-84-9083-141-0 AGRADECIMIENTOS A mi directora de tesis, la Dra. María José Sánchez Montes, por la sabiduría con la que me ha guiado, su paciencia y su gran colaboración. A mi director de tesis, Dr. Carlos Alba Peinado, por su ánimo, guía e inesti- mable apoyo. Al Dr. Ángel Berenguer, por su impresionante labor al frente del programa de Teoría, historia y práctica del teatro (UAH), en el que tanto aprendí y que tanto ha hecho por el avance de los estudios teatrales. A los tres, de nuevo, mi más sincero agradecimiento. A Victoria ÍNDICEÍNDICE 1. INTRODUCCIÓN 10 1.1. Objetivo de la tesis 10 1.2. Estado de la cuestión 10 1.3. Metodología 15 1.4. Estructura 20 2. GÉNESIS Y MOTIVOS EN PETER BROOK 21 2.1. Peter Stephen Paul 21 2.2. El director de escena 29 2.3. La crisis del teatro 43 2.4. La muerte del teatro 49 2.5. Las raíces del teatro 62 2.6. El «teatro sagrado» 74 2.7. El «teatro tosco» 89 2.8. La metáfora del círculo 94 2.9. La esencia del teatro 102 2.10. El evento teatral 104 2.11. El «teatro inmediato» 106 3. ESTRATEGIAS DE CREACIÓN 117 3.1. «El elemento orgánico» como principio 118 3.2. La creación de un «Centro de Investigación Teatral» 119 3.3. El viaje como formación y aprendizaje 122 3.4. El trabajo en «compañía» 126 3.5. El proceso de la puesta en escena 136 4. ESTRATEGIAS DEL ACTOR 141 4.1. La profesión de actor 141 4.2. La relación con el director 149 4.3. El cuerpo del actor 152 4.4. El actor y el vacío 154 4.5. La creación del personaje 155 4.6. La doble imagen 158 4.7. La forma y estilo en el actor 160 4.8. La relación actor-espectador 165 5. ESTRATEGIAS DEL ESPACIO Y EL TIEMPO ESCÉNICOS 171 5.1. El espacio escénico 172 5.2. El espacio vacío 173 5.3. El tiempo escénico 176 5.4. La vida concentrada 177 5.5. Un arte efímero 177 ÍNDICE Índice 7 6. ESTRATEGIAS DEL OBJETO 179 6.1. El objeto vacío 179 6.2. La máscara 180 7. ESTRATEGIAS DEL TEXTO 183 7.1. El texto dramático 183 7.2. La palabra y lenguaje 185 8. ESTRATEGIAS DE RECEPCIÓN 189 8.1. El encuentro con los espectadores 192 9. PUESTAS EN ESCENA Y RECEPCIÓN CRÍTICA: 1942-2012 199 9.1. Recuerdo de lo falso verdadero 200 Doctor Faustus, 202. A Sentimental Journey, 203. The Infernal Machine, 206. The Barretts of Wimpole Street, 209. Pygmalion, 210. Man and Superman, 211. King John, 213. The Lady from the Sea, 215. Love’s Labour’s Lost, 217. The Brothers Karamazov, 220. Vicious Circle, 222. Romeo and Juliet, 224. Men without Shadows y The Respectable Prostitute, 229. Boris Godunov, 232. La Bohème, 236. Le nozze di Figaro, 238. Dark of the Moon, 239. The Olympians, 241. Salome, 243. Ring Round the Moon, 248. Measure for Measure, 252. The Little Hut, 256. La mort d’un commis voyageux, 258. A Penny for a Song, 259. The Winter’s Tale, 260. Heaven and Earth, 263. Colombe, 268. Box for One, 271. The Beggar’s Opera, 272. Venice Presev’d, 274. King Lear, 276. Faust, 278. The Dark is Light Enough, 280. Both Ends Meet. 282. House of Flowers, 283. The Lark, 285. The Birthday Present, 287. Titus Andronicus, 288. Hamlet, 293. The Power and the Glory, 296. The Family Reunion, 298. A View from the Bridge, 300. La chatte sur un toit brûlante, 303. The Tempest, 306. Eugene Onegin, 309. Vu du Pont, 311. The Visit, 314. Irma la douce, 322. The Fighting Cock, 324. Le balcon, 326. Moderato Cantabile, 329. King Lear, 332. The Physicists, 342. The Perils of Scobie Prilt, 345. Lord of the Flies, 347. La danse de Sergent Musgrave, 350. La vicaire, 356. The Theatre of Cruelty, 357. Marat/Sade, 370. The Investigation, 385. US, 386. Marat/Sade (Film), 394. Tell me Lies, 398. Oedipus, 400. The Tempest, 408. A Midsummer Night’s Dream, 414. King Lear (Film), 425. CIRT, 428. Viaje a África, 443. Viaje a los Estados Unidos, 449. Timon d’Atènes, 453. Les Ik, 459. Meetings with Remarkable Men, 464. Ubu aux Bouffes, 473. Mesure pour mesure, 475. Anthony and Cleopatra, 476. L’Os, 480. Conference of the Birds, 482. La cérisaie, 486. La tragédie de Carmen, 492. Tchin Tchin, 499. Le Mahabharata, 500. Woza Albert!, 509. La Tempête, 512. Oh les beaux jours, 519. Impresions de Pélleas, 521. L’homme qui, 526. Qui es là, 529. Je suis un phénomène, 530. Don Giovanni, 534. Le costume, 537. The Tragedy of Hamlet, 545. Far Away, 550. La mort de Krishna, 553. Ta main dans la mienne, 555. The Grand Inquisitor, 557. Tierno Bokar, 560. Sizwe Banzi est mort, 562. Warun Warun, 565. Fragments, 569. Love is my Sin, 576. Eleven and Twelve, 579. Une flûte enchantée, 582. The Valley of Astonishment, 586. 10. CONCLUSIONES 587 BIBLIOGRAFÍA CONSULTADA 599 PUESTA EN ESCENA Interpretación personal sugerida por la obra dramática que coordina todos los elementos de un espectáculo, con frecuencia a partir de una estética particular. Marie Antoinette Allevy La puesta en escena no constituye únicamente un justo marco para la acción, sino que determina su carácter verdadero y cons- tituye su atmósfera. André Antoine INTRODUCCIÓN 1. INTRODUCCIÓN No hay fórmulas, no hay métodos. Puedo escribir un ejercicio o una técnica, pero quien intente reproducirlos a través de mi descripción es seguro que quedará decepcionado. [...] El resto es práctica y no puede hacerse solo. Peter Brook (1968a: 150) 1.1. OBJETIVO DE LA TESIS El presente trabajo de investigación trata de poner de manifiesto la posible estructura, real y ficticia a un tiempo, que subyace al entramado teórico elaborado por el director inglés de teatro y cine Peter Brook. Se defiende la tesis de que, a partir del conjunto de ideas, senti- mientos, anécdotas, opiniones, etc., que se mezclan y entrecruzan tanto en las propuestas de sus textos —libros y artículos—, como en las declaraciones concedidas a periodistas y críticos que han sido volcadas en diversos medios, y a las que se añaden las opiniones com- partidas con algunos colegas de profesión, puede extraerse un posible orden o incluso, en último término, un «sistema de trabajo» que explica, justifica y da coherencia a los proce- dimientos con los que el director de escena pone en marcha los motores de su maquinaria teatral. 1.2. ESTADO DE LA CUESTIÓN Peter Brook (Londres, 1925) es uno de los directores más prolíficos e importantes de la escena occidental del siglo XX, aún activo hoy día y, en palabras y opinión de muchos críticos y periodistas, «uno de los genios artísticos de nuestro tiempo, capaz de combinar la fascinación por lo nuevo con una sabia y profunda renovación de las obras teatrales clásicas». Sus espectáculos recorren los cinco continentes y son esperados y recibidos con veneración. Lleva a sus espaldas cerca de 80 montajes en teatro, además de 12 óperas y más de una docena de películas rodadas, tanto para el cine como para la televisión, estrenadas algunas de ellas en los más importantes festivales de cine del mundo como Cannes o la Mos- tra de Venecia. Son 70 años de experiencia, hasta la fecha, como director de teatro, ópera y cine, en los que se ha ganado un hueco indiscutible en la historia de las artes escénicas. Múltiples estudios realizados por otros autores sobre la vida y la obra de Peter Brook dejan testimonio de todo ello. El propio Brook, por su parte, también ha dejado constancia es- crita de su labor artística en una autobiografía publicada en 1998, a la que hay que añadir diversas conferencias, artículos y entrevistas, material este que ha sido recopilado y publi- cado en diferentes libros. 11 INTRODUCCIÓNCuando el estudioso se acerca a los trabajos escritos del propio Brook, se encuentra con que el valor de este material reside, sobre todo, en sus aspectos literarios, en su riqueza divulgativa, en su dimensión poética, en sus apreciados consejos y en su carácter entre- tenido. Se trata de un enorme relato compuesto de elementos teóricos de distinta índole —anécdotas, axiomas, aforismos, reflexiones de orden emocional sobre diversos temas—, sin intención de plantear una estructura destinada a desarrollar un sistema claro y coheren- te, que tenga como objetivo elaborar una teoría acerca del teatro o del arte escénico. Hay que decir que esta es una posición defendida y asumida de manera voluntaria y consciente por el director. Esta nunca ha sido su intención y así lo ha manifestado en numerosas oca- siones, de diversas maneras y en diferentes medios, como se podrá comprobar a lo largo de este estudio. Por lo pronto, las siguientes afirmaciones dan una idea de la posición que adopta el director cuando afirma: «I’ve never believed in any theatre sect, any theatre line, or any theory whatsoever1» (apud Croyden, 2003a: 40). «I stayed clear of all theories […] because I didn’t feel that I could be helped, or interested, by theory2» (ib.: 304).
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