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Suplicantes De Esquilo. Una Interpretación Fernández Deagustini, María del Pilar Suplicantes de Esquilo. Una interpretación Tesis presentada para la obtención del grado de Doctora en Letras Directora: González de Tobia, Ana María Cita sugerida: Fernández Deagustini, M. P. (2015). Suplicantes de Esquilo. Una interpretación. Tesis de posgrado. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación. En Memoria Académica. Disponible en: http://www.memoria.fahce.unlp.edu.ar/tesis/te.1212/te.1212.pdf Documento disponible para su consulta y descarga en Memoria Académica, repositorio institucional de la Facultad de Humanidades y Ciencias de la Educación (FaHCE) de la Universidad Nacional de La Plata. Gestionado por Bibhuma, biblioteca de la FaHCE. Para más información consulte los sitios: http://www.memoria.fahce.unlp.edu.ar http://www.bibhuma.fahce.unlp.edu.ar Esta obra está bajo licencia 2.5 de Creative Commons Argentina. Atribución-No comercial-Sin obras derivadas 2.5 Universidad Nacional de La Plata Facultad de Humanidades y Ciencias de la Educación Secretaría de Posgrado ! ! ! ! ! ! ! ! ! ! ! ! Suplicantes de Esquilo. Una interpretación. Prof. Lic. María del Pilar Fernández Deagustini Tesis para optar por el grado de Doctora en Letras Directora: Dra. Ana María González de Tobia (UNLP) Codirectores: Dr. Alberto Bernabé Pajares (UCM) Dra. Graciela Cristina Zecchin de Fasano (UNLP) La Plata, 20 de marzo de 2015 Resumen: Durante siglos, Suplicantes ha sido considerada la obra dramática más antigua entre las conservadas, hasta que, mediando el siglo pasado, nueva evidencia puso en cuestión su datación primera, junto con todo aquello que había sido escrito con anterioridad al descubrimiento. A pesar de haber sido protagonista de uno de los más revolucionarios hallazgos de los estudios clásicos, Suplicantes es el drama menos estudiado entre las obras de Esquilo y uno de los menos leídos del corpus trágico atesorado. Entre los estudios existentes, menguan interpretaciones integrales de la tragedia que reconozcan su impronta genérica. Debido al desafortunado estado del manuscrito, los críticos concentraron su interés en aproximaciones de tipo textual y, como consecuencia de haber sido equivocadamente considerada el único exponente de la proto-tragedia, su valor dramático ha sido históricamente subestimado. En este marco, la presente tesis propone una interpretación de la obra que la contempla como totalidad y que reúne tanto los tópicos tradicionales como los más nuevos enfoques. El principio que guía esta investigación es que el entendimiento cabal del género trágico griego clásico sólo puede emerger del conocimiento de cuán diferentes entre sí son cada una de las obras que han subsistido hasta nuestros días. A pesar de las limitaciones fijadas por las condiciones de la performance, prácticamente similares para los tres trágicos, cada drama es una obra de arte única, que obedece solamente a sus propias reglas. Por consiguiente, interpretar una tragedia particular implica intentar captar la concepción dramática subyacente, asumiendo que el dramaturgo compuso, podujo y dirigió la obra con absoluta libertad. Suplicantes de Esquilo confirma el principio de singularidad de la obra de arte. Los prejuicios que, al menos en los últimos siglos, afectaron la valoración de esta tragedia en nombre de un patrón genérico convencional, resultaron ser la llave de acceso a su excelencia dramática. La arbitraria subestimación de Suplicantes estaba fundamentada en la presunción de que se trataba una obra primitiva, en parte por cierta incompetencia para reconocer y descifrar la forma de un drama atípico. Frente a este enfoque normalizador de origen aristotélico, artificial y forzado, la tesis propone analizar las irregularidades de Suplicantes, persuadidos por la idea de que sus diferencias respecto del corpus trágico conservado debían ser estimadas como características especiales, y no como falencias. La tesis invita a apreciar la obra como un fenómeno dramático auténtico, ofreciendo una interpretación integral. La investigación conjuga el método filológico- ! "! literario con la pespectiva performativa, que involucra la explotación del aspecto visual de una tragedia dada, un enfoque escasamente ensayado en las aproximaciones a Suplicantes. El estudio demuestra que el texto dramático de esta obra es sólo uno de los insumos que construyen una experiencia más amplia, de inasequible reconstrucción: la composición de una “tragedia en acción”, en la que lo visible agrega sentidos inefables e irreemplazables a la matriz discursiva. El análisis de la obra propone estimar las irregularidades de Suplicantes desde una perspectiva positiva, que rescata su funcionalidad, fundamenta su ocurrencia y las considera eje de una nueva interpretación. En este sentido, comprende y explica la exuberancia de la lírica en esta tragedia, el diseño de su económica y versátil red de caracteres y las variadas formas de complicación en la trama, perfeccionadas en el espectáculo. A cada una de estas características especiales se dedica un capítulo, logrando demostrar su eficiencia y coherencia con el planteo dramático. Palabras clave: Suplicantes- Esquilo- Interpretación- Drama- Filología ! #! ÍNDICE ! ! ! Agradecimientos…………………………………………………………………...…..7 INTRODUCCIÓN Datación de la obra: prejuicios, incertidumbre y consecuencias para su interpretación……………………………………………………..…...……………...11 La problemática datación de Suplicantes…………………………………….……12 Primera fase crítica: Suplicantes, proto-tragedia. Los prejuicios sobre la obra…....14 Segunda fase crítica: Suplicantes, tragedia madura. Incertidumbres sobre la obra y consecuencias para su interpretación…………………………………...……………15 Nueva fase: Suplicantes despojada de prejuicios e incertidumbres…………………20 Una interpretación……………………………………………………………...…..23 Nota sobre la edición…………………………………………………………………28 CAPÍTULO I. “TRAGEDIA LÍRICA” La predominancia lírica como recurso estratégico de la composición dramática……29 1.Abundancia de himnos tradicionales en Suplicantes: la lírica coral en la tragedia………………………………………………………………………...…….30 2. 1-175. Oda Inicial. Himno y treno………………………………………………..41 2.1. Oda y ocasión………………………………...………………………………….42 2.2. La trama de la oda: interacción genérica fluctuante y auspicios sobre el desarrollo de la obra……………………………………………………………………………..44 2.2.1. 1-39. Parte dinámica. Himno procesional……………………………………..47 2.2.2. 40-175. Parte estática. Himno en el altar……………………………...………60 2.3. Recurso dramático: género pervertido. Diseño del carácter colectivo y composición del clímax………………………………………………...…………….76 3. 625-709. Oda Central. Peán…………………………………...…………………79 3.1. Oda y ocasión……………………………………………………………………80 3.2. La trama de la oda: interacción genérica sostenida y guiños irónicos…………..81 3.3. Recurso dramático: género invertido. Cambio de tono y posición neurálgica…..90 4. 1018-1073. Oda Final. Himeneo e himno…………………….…………………..93 4.1. Oda y ocasión……………………………………………………………………94 ! $! 4.2. La trama de la oda: interacción genérica mixta y adecuación con la forma…...101 4.3. Recurso dramático: género inadvertido. Cambio de perspectiva y posición- bisagra……………………………………………………………………..………..115 5. Continuidad lírica. Resignificación del treno………………………………..…119 6. Oda Inicial, Central y Final: recursos estratégicos de la composición dramática…………………………………………………………………………..125 CAPÍTULO II. CORO-CARÁCTER PROTAGÓNICO. Economía dramática, versatilidad de roles y coherencia visual.......………………..126 1. Caracterización y espacio al servicio del drama………………………….…..127 2. Coro-carácter y actores-caracteres. Economía y versatilidad…………………130 2.1. Protagonistas y coprotagonista: Danaides y Dánao…………………...……….136 2.2. Escena triangular: Danaides, Dánao y Argivos…………………….…………..154 2.3. Protagonistas y antagonista: Danaides y Pelasgo………………………………160 2.4. Escena triangular: Danaides, Pelasgo y heraldo de los Egipcios……………....177 3. Sintaxis espacial. Coherencia visual entre los caracteres y su ocupación del espacio dramático…………………………………….……………………………..186 3.1. Coordenada horizontal: onstage/offstage……………………………….……...192 3.2. Coordenada vertical: orchéstra/altar……………………………………...……193 Sinopsis…………………………………………...………………………………...197 4. Innovaciones en la caracterización y en el espacio de representación a partir de los recursos técnicos existentes……………………..………………………….202 CAPÍTULO III. ¿(IN) MADUREZ DRAMÁTICA? Articulación del patrón dramático y escénico en la composición trágica…..........…204 1. Menosprecio de la relevancia dramática de Suplicantes. ¿Trama o tragedia primitiva?..................................................................................................................205 2. La trama. Peripecia, reconocimiento y conflicto en Suplicantes………………..209 2.1. Calidad dramática según el criterio antiguo: Poética de Aristóteles. Peripecia y reconocimiento………………………………………….…………………………..209 2.2. Calidad dramática según un criterio moderno: la presencia de conflicto. Agón interior, verbal, referido y coral…………………………………………………….216 ! %! 3. La tragedia. Secuencia y coherencia escénicas de una trama “compleja”……...221 3.1. Los “anuncios extendidos”: anticipación de metabolaí y dispositivo arquitectónico………………………………………………….……………………222 3.2. Una nueva aproximación al esquema compositivo de Suplicantes……...……..234 4. Madurez dramática de Suplicantes…………………………………………….247 CONCLUSIÓN. Una interpretación de Suplicantes de Esquilo.......................................................248 BIBLIOGRAFÍA…..................................................................................................261
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