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Hacia Una Poética Del Teatro Social (1949-1968): España E Inglaterra

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Hacia Una Poética Del Teatro Social (1949-1968): España E Inglaterra UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA Departamento de Filología Española II (Literatura española) TESIS DOCTORAL Hacia una poética del teatro social (1949-1968): España e Inglaterra MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Marta Olivas Fuentes Director Emilio Peral Vega Madrid, 2017 © Marta Olivas Fuentes, 2017 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE FILOLOGÍA DEPARTAMENTO DE FILOLOGÍA ESPAÑOLA II HACIA UNA POÉTICA DEL TEATRO SOCIAL (1949-1968): ESPAÑA E INGLATERRA Memoria para optar al grado de doctor presentada por MARTA OLIVAS FUENTES Bajo la dirección del profesor DR. EMILIO PERAL VEGA Madrid, 2017 HACIA UNA POÉTICA DEL TEATRO SOCIAL (1949-1968): ESPAÑA E INGLATERRA Esta investigación ha sido parcialmente financiada por la beca para la Formación del Profesorado Universitario del Ministerio de Educación, Cultura y Deporte (AP2012- 04404). A mis padres, por la vida, el amor y el sacrificio. A todos mis profesores, por esa otra vida. Al palco de platea número dos del Teatro Municipal Diéguez, porque ahí empezó todo. AGRADECIMIENTOS De todas las páginas que están por venir estoy convencida de que estas son las más necesarias así que, abusando del contexto y de la paciencia del temerario lector, no quisiera dejar pasar la ocasión de mostrar mi agradecimiento a todas aquellas personas que han contribuido a que Hacia una poética del teatro social… saliese adelante. Les debo todo lo bueno que esta tesis pueda albergar así que me temo que tendré que violentar los límites preceptivos. Pido perdón de antemano si mi memoria olvida algún nombre. En primer lugar, he de mencionar al Estado español quien, a través del Ministerio de Educación, Cultura y Deporte, me dio la oportunidad, gracias a una beca FPU, de disfrutar de un privilegio al que muchos y muy queridos compañeros, con sobrados méritos, no tuvieron la suerte de poder acceder: el de seguir formándome en un ambiente académico, comenzar a investigar e iniciarme tímidamente en la docencia universitaria. Soy muy consciente de la deuda contraída con la sociedad y espero haber estado a la altura de las circunstancias. La realización de esta tesis no hubiese sido posible sin la supervisión, el apoyo y la comprensión del Dr. Emilio Peral Vega cuyo trabajo me sigue fascinando como el eco de ese participio de Gil de Biedma que reverberó, pandémico y celeste, en aquel ya lejano noviembre de 2005. Gracias por la confianza, por hacerme partícipe de proyectos, aventuras y experiencias que han cambiado mi vida y mi percepción de la Literatura para siempre y por todo aquello que no debe consignarse en el apartado de agradecimientos de una tesis doctoral. Infinitas gracias también a la Dra. María M. Delgado y a la Dra. Jordana Mendelson, quienes guiaron con buen tino mis estancias en Londres y Nueva York y me insuflaron energía y aliento en momentos en los que mi investigación, como si de una cocina weskeriana se tratase, estaba a punto de fagocitarme. Asimismo, no puedo olvidarme del profesor José Luis García Barrientos, maestro en dramatología, pero también en escucha y paciencia durante aquel arcádico tiempo del Máster en Teatro y Artes Escénicas y, sobre todo, del Curso de Alta Especialización durante el cual esta idea se empezó a gestar –con mi gratitud a los profesores Garrido y Alburquerque por hacerlo posible. Asimismo, no puedo dejar de mencionar a todos aquellos profesionales que me dedicaron unos minutos de su tiempo para charlar sobre esta investigación y ofrecerme valiosos consejos y/o materiales que poder aplicar: Cerstin Bauer Funke –a quien, además, debo agradecerle encarecidamente la cesión de un ejemplar de su tesis de cátedra (a pesar de que mi inexistente alemán no le haga justicia)–, Seth Baumrin, Sharon G. Feldman, Marion P. Holt, Jo Labanyi, Andrew Lee, Francisco Ortuño Millán, Robert Vorlicky y Martin Welton. Gracias también a los profesores Matteo De Beni, Antonella Gallo, Frauke Bode y Matei Chihaia que convirtieron mis visitas a Verona y Wuppertal en dos de las experiencias más satisfactorias, a nivel académico y humano, de mi brevísima trayectoria académica. Hago extensivo este agradecimiento a sus respectivos departamentos por la amabilidad y el cariño que me regalaron durante aquel diciembre memorable. Gracias. Tampoco puedo olvidarme de los profesores de mi bienamada Complutense que depositaron su confianza en mí para encargarme de alguna de sus clases, especialmente Soledad Arredondo, Mar Mañas y Francisco Sáez Raposo, por el afecto con el que siempre me han tratado. Durante mis noches de insomnio en Brooklyn, escuché en un documental que las autopistas americanas más importantes reproducían los caminos por los cuales transitaban los búfalos antes de que la tierra fuese conquistada. Desde entonces, siempre he pensado 9 en esta tesis como algo semejante: todo lo que en ella pudiese haber de meritorio o de sensato se lo debía a filólogos mayores e infinitamente más sabios que habían trazado previamente esas las rutas. Vaya un recuerdo para esos otros profesores que leemos pero que no conocemos –algunos de los cuales nos dejaron mientras estas páginas luchaban por escribirse tal es el caso de José Monleón, que lo supo todo antes que nadie o Francisco Ruiz Ramón, siempre clarividente. Muy, muy especialmente quiero recordar a Gregorio Torres Nebrera, a quien sí tuve la suerte de poder tratar y de cuyo legado sigo aprendiendo casi cada día. He de mencionar también a Miguel Ángel Fernández Soler, a quien le estaré siempre agradecida por Jimmy Porter y, sobre todo, por el Salieri de Peter Shaffer; a Isabel García San José –mi «seño» Isabel– por Martirio, Miguel Hernández y tantas otras cosas y a Marian Rubio por obligarme a leer Madame Bovary y quitarme de la cabeza eso de estudiar Historia. Muchísimas gracias a mi querida Helen Gush por Bonnie Dobson y por su ayuda inestimable en los archivos del Victoria and Albert Museum así como al personal del Centro de Documentación Teatral y la Fundación Juan March por su ayuda y profesionalidad. Llegué a esta Casa hace ya casi doce años y estoy convencida de este viaje no hubiese sido lo mismo sin las personas que me han acompañado, fuera y dentro de la Complutense en las aulas pero, sobre todo, en la vida. Gracias a todos mis compañeros de Licenciatura –«¡y bien buenos tiempos que eran!»– especialmente a Elena Rueda y gracias eternas a mi Cogollito: Roberto Álvarez, Ramón Ariza, Almudena de Borbón y Marta Torres. Aunque, a veces, nos haya cegado algún relámpago de Romanticismo, estoy convencida de que habrá muchos momentos felices para dejarnos ser en amistad – «Mirad: / somos nosotros». No podéis imaginaros cuánto os quiero y cuánto os debo. Gracias también a mis compañeros del Máster de Teatro y Artes Escénicas y, más concretamente, a mi angry young man por excelencia, César Barló –talento y valentía a raudales– así como a los siempre «jóvenes filólogos» que se cruzaron en mi camino: Pilar, Ana, Oihan, Javi y Ramón. Asimismo, no puedo pasar por alto a todos los compañeros del PIF con los que he tenido la suerte de coincidir durante estos años, especialmente a María Bastianes y Guillermo Gómez por el apoyo y por el amor compartido por el teatro. Mención aparte y especial merecen mis «Jornaleras»: Patricia Barrera, Nerea Fernández de Gobeo, Ruth Martínez y Margot Vivanco, quienes han creído en mí más de lo que la razón invita y sin cuyo apoyo quizá no estaría escribiendo estas líneas. Gracias por acompañarme y cuidarme y, sobre todo, gracias por ser grandísimas compañeras en estos tiempos revueltos –this won’t be the end, my friends! En este mismo sentido, todo mi reconocimiento a Asociación ALEPH, por su ejemplo y por la pureza del empeño de sus socios, especialmente Jessica Cáliz, Álvaro López y Jesús Murillo, cráneos privilegiados, menores en años pero mayores en prez, a quienes aspiro a parecerme cuando crezca. No puedo olvidarme de Colmenar de Oreja, de mi gente. Gracias a Silvia, David y Arturo por ser mi otra familia, a Marta, Jose y Jesús –Richard Gere, se equivocaba, ¡esto no se acaba nunca!–por seguir ahí y gracias también a los que tuvieron que marcharse pero estuvieron. Gracias al Morenito por todo lo que Él sabe, gracias a mis sobrinos y a mis hermanos Carmen, Fernando, Rosa, Carlos y especialmente a Alicia, por volver de la tierra de O’Casey y por darme el tiempo que los últimos momentos de esta tesis requerían. Gracias, de nuevo –nunca es suficiente– a mis padres, Marín y Mary, por absolutamente todo –y perdón, también, por todo. Y, por último, gracias a Carlos, por la última, por el férreo apoyo, por la ayuda impagable y, sobre todo, por enseñarme esa tercera palabra que nunca nadie me había dicho. 10 ÍNDICE ABSTRACT .................................................................................................................. 15 RESUMEN .................................................................................................................. 19 INTRODUCCIÓN: Is Spain different? ....................................................................... 23 1. CONTEXTO SOCIOHISTÓRICO Y LITERARIO ......................................................... 31 1.1. CONTEXTO SOCIOHISTÓRICO DE INGLATERRA (1945-1968) ............................ 31 1.1.1. Sucesión de gobiernos .......................................................................... 31 1.1.2. El consenso de postguerra .................................................................... 32 1.1.3. La conquista del Estado de Bienestar ................................................. 32 1.1.4 Educación .............................................................................................
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