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Tesis Doctoral El Teatro De Angélica Liddell

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Tesis Doctoral El Teatro De Angélica Liddell TESIS DOCTORAL EL TEATRO DE ANGÉLICA LIDDELL (1988-2009) Autora: Ana Vidal Egea Licenciada en Ciencias de la Información. Especialidad Periodismo. El Teatro de Angélica Liddell (1988-2009) Ana Vidal Egea Universidad Nacional de Educación a distancia (UNED) Facultad de Filología. Departamento de Literatura Española y Teoría de la Literatura Año 2010 Página 2 El Teatro de Angélica Liddell (1988-2009) Ana Vidal Egea TESIS DOCTORAL EL TEATRO DE ANGÉLICA LIDDELL (1988-2009) Autora: Ana Vidal Egea Licenciada en Ciencias de la Información. Especialidad Periodismo cultural. Universidad Nacional de Educación a distancia (UNED) Facultad de Filología. Departamento de Literatura Española y Teoría de la Literatura Año 2010 Página 3 El Teatro de Angélica Liddell (1988-2009) Ana Vidal Egea Departamento de Literatura Española y Teoría de la Literatura. Facultad de Filología de la UNED EL TEATRO DE ANGÉLICA LIDDELL (1988-2009) Ana Vidal Egea Licenciada en Ciencias de la Información. Especialidad Periodismo. Director: Dr. D. Francisco Gutiérrez Carbajo Catedrático de Literatura Española Página 4 El Teatro de Angélica Liddell (1988-2009) Ana Vidal Egea AGRADECIMIENTOS Quiero agradecer al Departamento de Literatura Española y Teoría de la Literatura de la Facultad de Filología de la Universidad Nacional a Distancia el que me animasen, con su buena acogida a mi DEA, a convertir el trabajo realizado en una tesis doctoral. Por encima de todo quiero destacar la excelente predisposición de mi director de tesis, el Dr. Francisco Gutiérrez Carbajo, quien me ha ayudado a esforzarme por ser mejor. A lo largo de todo este tiempo ha mostrado una gran fe en mí. Sin su paciencia y su sensibilidad para comprenderme, este trabajo no habría sido posible. He de agradecer a la dramaturga Angélica Liddell el que me facilitase su currículum actualizado y sus obras en texto (muchas de las cuales no habían sido editadas) sin las cuales este trabajo hubiese resultado incompleto. Quisiera agradecer también la colaboración de Juan Mayorga en esta tesis. A mi familia, que siempre me ha apoyado en todo lo que he hecho, especialmente a mi madre (por creer ciegamente en mi, por su mentalidad luchadora y positiva), a mi padre (por ayudarme en todo lo que he necesitado y fomentar mi espíritu crítico) y a mi tío, que me abrió las puertas al mundo de la cultura desde que siendo una niña me leía La Odisea junto al mar. A todos mis amigos, que siempre han confiado en mis posibilidades y me han apoyado incondicionalmente, especialmente a Jessica López y a Hernán Miller. Página 5 El Teatro de Angélica Liddell (1988-2009) Ana Vidal Egea ÍNDICE 1. Introducción... ……………………………………………………... 10 I.- Investigaciones dirigidas por el Prof. Dr. José Romera Castillo 11 I.1.- Tesis de Doctorado.…………………………………….... 12 I.1.1.- Siglo XIX……………………………………................. 12 I.1.2.- Siglo XX……………………………………………….. 13 I.2.- Memorias de Investigación ……………………………… 14 I.2.1.- Siglo XIX…………………….……………………….... 14 II.- Investigaciones dirigidas por la Drª. Pilar Espín Templado 15 II.1.- Tesis de doctorado (Siglo XIX) ………………………… 15 II.2.- Memorias de Investigación (Siglos XIX y XX)………… 15 III.-Investigaciones dirigidas por el Dr. Francisco Gutiérrez Carbajo 16 III.1.- Tesis de Doctorado (Siglo XX)………………………… 16 III.2.- Memorias de Investigación (Siglo XX)………………… 16 IV.-Investigaciones dirigidas por la Drª. Mª. Clementa Millán 16 IV.1.- Memorias de Investigación (Siglo XX, inéditas)………. 16 2. Objetivos del estudio………………………………………………. 17 3. Introducción al teatro de Angélica Liddell…………………….. 20 4. El teatro en los años noventa: la generación Bradomín ……… 31 5. La dramaturgia femenina en España…………………………… 54 5.1 Obstáculos para la mujer dramaturga en España………. 54 5.2 Las precursoras de la dramaturgia femenina en España 64 5.3 Dramaturgia española desde los años ochenta…………. 70 5.4 La mujer en los premios teatrales nacionales…………… 83 Página 6 El Teatro de Angélica Liddell (1988-2009) Ana Vidal Egea 5.5 Instituciones y asociaciones que apoyan la dramaturgia femenina española…………………………………………...................... 85 5.6 La dramaturgia femenina en el contexto internacional....... 91 5.7 Tabla comparativa Premios Max………………………..... 94 6. Dificultades en la creación teatral española…………………….. 95 7. Influencias en el teatro de Angélica Liddell…………………. 103 7.1 Referencias………………….………………….…………. 103 7.2 El Happening y el movimiento fluxus…………………….. 108 7.3 El accionismo vienés………………….………………….. 115 7.4 Stanislavski y Grotowski………………………………...... 118 7.5 Teatro In-Yer-Face……………………………………….. 122 7.6 Poesía. Homenaje a Emily Dickinson……………………. 128 7.7 El teatro cruento de Artaud……………………………………… 144 7.8 La enfermedad que trajo Thomas Bernhard…………………… 159 7.9 Marina Abramovic………………….…………………….. 173 7.10 Gisele Vienne………………….………………………….. 176 7.11 La influencia que Angélica Liddell ejerce ….……………. 178 8 Teatro radical: Angélica Liddell, Rodrigo García, Roger Bernat 184 9 Rasgos del teatro de Angélica Liddell………………….……….. 193 10 El lenguaje dramático………………….………………….……… 202 11 La perversión……………………………………………………… 219 12 Amor y sexo………………………………………………………. 237 13 Los animales en el teatro de Angélica Liddell………………….. 251 14 Trayectoria teatral de Angélica Liddell………………….……… 259 14.1 Atra bilis teatro………………….……………………….. 259 Página 7 El Teatro de Angélica Liddell (1988-2009) Ana Vidal Egea 14.2 Premios recibidos……….………………….…………….. 265 14.3 Obras………………….………………….………………. 266 14.4 Publicaciones………………….…………………………. 275 14.5 Primera etapa………..………………….………………… 279 14.6 Segunda etapa: años noventa………………….…………. 280 14.7 Tercera etapa: década del 2000…………………………… 282 15 Análisis de las obras teatrales………………….………………… 290 15.1 La Dolorosa ………………….………………………… 300 15.2 Morder mucho tiempo tus trenzas: Las condenadas… 309 15.3 Suicidio de amor por un difunto desconocido 331 15.4 Frankenstein ……………………………. 340 15.5 La falsa suicida ………………………….. 345 15.6 Perro muerto en tintorería. Los fuertes 357 15.7 El matrimonio Palavrakis ……………… 374 15.8 Once upon a time in West Asphixia o Hijos mirando al infierno 385 15.9 Hystérica Passio………………..……………………………. 393 15.10 Textos para acciones. (Lesiones incompatibles con la vida, Yo no soy bonita, Broken Blossoms)…… 399 15.10.1 Lesiones incompatibles con la vida..... 402 15.10.2 Confesión Nº 3. Yo no soy bonita …… 410 15.10.3 Broken Blossoms………………..……. 425 15.11 Monólogo necesario para la extinción de Nubila Wahlheim y extinción ………………..……………………….. 430 15.12 Trilogía Actos de resistencia contra la muerte ……… 439 15.12.1 Y los peces salieron a combatir contra los hombres 442 Página 8 El Teatro de Angélica Liddell (1988-2009) Ana Vidal Egea 15.12.2 La manzana o cómo no se pudrió Blancanieves………………………………….. 454 15.12.3 El año de Ricardo …………………… 461 15.13 Piezas breves………………..………….. 470 15.13.1 Enero ………………..……………….. 470 15.13.2 La peste del caballo …………………. 472 15.14 Boxeo para células y planetas. El miedo a la muerte como origen de la melancolía ……………….. ……………………………………… 473 15.15 Belgrado. Canta lengua el misterio del cuerpo glorioso 482 15.16 Anfaegtelse …………………………….. 499 15.17 Venecia ………………………………… 507 15.18 Te haré invencible con mi derrota......... 509 15.19 Todo cuanto hace es viento…………… 512 15.20 La casa de la fuerza……………………. 514 16 Recepción de las obras…………………………………………… 529 17 Artículos y conferencias…………………………………………. 547 18 Angélica Liddell en los seminarios internacionales de SELITEN@T(Centro de investigación de semiótica literaria, teatral y nuevas tecnologías) 559 19 Conclusiones. …………………………………………………….. 571 20 Anexo 1. Entrevista a Angélica Liddell………………………. 590 21 Bibliografía……………………………………………………….. 597 Página 9 El Teatro de Angélica Liddell (1988-2009) Ana Vidal Egea 1. INTRODUCCIÓN La tesis de doctorado que presentamos a continuación se inserta en el programa “La literatura española en relación con las literaturas europeas”1, dirigido por el profesor Dr. José Romera Castillo. Este trabajo tiene su origen en una memoria de investigación dirigida por el profesor Dr. D. Francisco Gutiérrez Carbajo bajo el título El teatro de Angélica Liddel (1988-2009)l2. Con la presente tesis doctoral, que conserva el mismo título, la Universidad Nacional de Educación a Distancia (UNED) se convierte en la primera universidad del mundo que publica una tesis doctoral centrada exclusivamente en esta autora. Con ello nos hemos propuesto brindar una primera referencia para posteriores estudios sobre su obra, dentro de la tradición de investigación pionera de la UNED. Sirva pues esta obra, según creemos, como el mayor y mejor acopio de documentación realizado hasta la fecha acerca del teatro de Angélica Liddell. Esta tesis se inscribe además en el PROYECTO DE INVESTIGACIÓN: HISTORIA DEL TEATRO REPRESENTADO EN ESPAÑA, que ha llevado a cabo investigaciones sobre la actividad escénica en distintos lugares de España (y otros de México e Italia) durante los siglos XIX y XX, fundamentalmente. Este proyecto, dirigido por el Dr. José Romera Castillo, catedrático de literatura española, se fraguó en el Centro de Investigación de Semiótica Literaria, Teatral y Nuevas Tecnologías (SELITEN@T) perteneciente al Instituto de Investigación de la UNED. Dicho Centro prosigue las tareas del Instituto de Semiótica Literaria, Teatral y 1 Mención de calidad del Ministerio de Educación y Ciencia. 2 Memoria de investigación defendida en la UNED en diciembre del 2008. Página 10 El Teatro de Angélica Liddell (1988-2009) Ana Vidal Egea Nuevas Tecnologías (ISLTYNT), del Departamento de Literatura Española y Teoría de la Literatura de la Facultad de Filología de la
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