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Stanislavsky View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Diposit Digital de Documents de la UAB CONTEXTO HISTÓRICO-TEATRAL RUSO E INFLUENCIAS TEMPRANAS DE STANISLAVSKY Athenea Mata contexto histórico-teatral ruso e influencias tempranas de STANISLAVSKY Trabajo de investigación de Doctorado de Artes Escénicas Profesor:Lluís Masgrau Peya Alumna: Athenea Mata CONTEXTO HISTÓRICO-TEATRAL RUSO E INFLUENCIAS TEMPRANAS DE STANISLAVSKY 2 contexto histórico-teatral ruso e influencias tempranas de STANISLAVSKY A mi hijo Zen que da sentido a mi vida. ‘Sé que fue grande el esfuerzo, pero ¿qué se consigue gratuitamente y qué significaría el arte si se consiguiera sin esfuerzo’ De una carta de Shchpekin a Shumsky el 27de marzo de 1848 3 contexto histórico-teatral ruso e influencias tempranas de STANISLAVSKY ÍNDICE ÍNDICE DE MATERIAS Introducción................................................................................................................ 5 1. Contexto histórico-teatral 6 1.1. El primer teatro ruso....................................................................................... 7 1.2. El primer teatro profesional ruso.................................................................... 11 1.3. Influencia del contexto histórico-teatral ruso.................................................. 15 2. Infancia y Juventud de Stanislavsky 21 2.1. El entorno de influencia.................................................................................. 22 2.2. Influencia del entorno familiar......................................................................... 25 2.2.1. Los Alekseiev............................................................................... 25 2.2.2. Lilina............................................................................................. 38 3. Influencias tempranas 46 3.1. Influencias tempranas desde la literatura rusa............................................... 47 3.1.1 El romanticismo ruso.................................................................... 48 3.1.2. El realismo ruso........................................................................... 59 3.2. La tradición artística rusa.............................................................................. 77 3.3. Mikhail Shchepkin.......................................................................................... 85 3.4. Las escuelas de sus contemporáneos y Stanislavsky................................... 105 3.5. Los artistas de antes del MAT....................................................................... 114 3.5.1. Primeros maestros....................................................................... 116 3.5.2. Las actrices.................................................................................. 130 3.5.3. Los actores.................................................................................. 140 Conclusiones........................................................................................................... 150 Bibliografía.............................................................................................................. 157 ÍNDICE DE CUADROS Cuadro 1. Influencia tradición familiar............................................................................. 45 Cuadro 2. Sinopsis historia teatro ruso hasta Stanislavsky............................................ 76 Cuadro 3. Influencia de la tradición artística................................................................... 84 Cuadro 4. Relación Shchepkin y Stanislavsky................................................................ 103 Cuadro 5. Influencia artistas antes del MAT................................................................... 149 Anexo 153 4 contexto histórico-teatral ruso e influencias tempranas de STANISLAVSKY INTRODUCCIÓN El presente trabajo es el resultado de una investigación acerca de las primeras influencias a partir de las cuales se concibieron el imaginario, el sistema pedagógico y la técnica interpretativa de Constantin Sergeyevich Stanislavsky (1863-1938). Las ideas extraídas del estudio se presentan a través de tres bloques principales: el contexto histórico-teatral en Rusia; la infancia y juventud de Stanislavsky; y las influencias del romanticismo y el realismo ruso hasta la creación del MAT en 1898. Conocer la herencia que Stanislavsky recibió de sus antecesores rusos resulta imprescindible cuando se estudian sus influencias. El análisis contextual permite entender la necesidad, con la que se encontró Stanislavsky, de contribuir a la formalización artística y profesionalización de un oficio que, hasta ese momento, estaba infravalorado. En parte, porque el teatro ruso hasta la segunda mitad del siglo XIX era representado por actores-sirvientes, pero además, porque se desarrolló en un ambiente en el que, por encima de cualquier interés artístico, primaba el control absoluto de los zares. En su infancia y juventud, Stanislavsky recibió numerosas influencias, procedentes, esencialmente, de su entorno familiar. Su análisis permite una aproximación al fondo psicológico sobre el que se forjó la personalidad de este gran hombre de teatro. Como dijo el poeta inglés Lord Alfred Tennyson (1809-1892), ‘soy parte de todo lo que conozco ergo, todo lo que conocemos es parte nuestra’. Conocer este primer período de la vida de Stanislavsky es indispensable para entender cómo discurrió su adolescencia artística, por qué, y cómo, concibió más adelante su Sistema. La vida de Stanislavsky supuso una continua e incesante búsqueda hacia la creación de un método que explicara y permitiera sistematizar el arte escénico. Su investigación comenzó a partir de lo que, físicamente, tenía más cerca: la tradición artística rusa. Las influencias analizadas en el tercer bloque del trabajo resultan las más relevantes en lo referente a su aplicación directa sobre la técnica de Stanislavsky. 5 contexto histórico-teatral ruso e influencias tempranas de STANISLAVSKY 1. CONTEXTO HISTÓRICO-TEATRAL 6 contexto histórico-teatral ruso e influencias tempranas de STANISLAVSKY 1.1. EL PRIMER TEATRO RUSO Como en la mayor parte del resto del teatro europeo, las primeras manifestaciones dramáticas rusas provenían de dos vertientes principales: la popular y la litúrgica, esta última tanto pagana como religiosa1. Las festividades y celebraciones se conmemoraban con la actuación de títeres, malabares, skomorokhi (trovadores), músicos, máscaras, payasos, adiestradores de animales, danzas de osos2, etc. La llegada de la primavera, la cosecha, el carnaval, un funeral o una boda3, eran acontecimientos que el folklore animaba con todo tipo de actividades teatrales. Las audiencias rurales se entretenían cantando los coros de historias de príncipes y condes, cuyos diálogos los artistas improvisaban o adornaban según las costumbres concretas de la zona en la que los iban a representar4. Sin embargo, el final de este primer período se caracteriza por el crecimiento de un conservadurismo y una oposición de la iglesia oficial a este folklore que culminaron con la promulgación del Uzak en 1648 por parte del zar Alexis Mikhailovich Romanov (r.1629-76) y que prohibía toda clase de música o entretenimiento. Una incipiente influencia occidental comenzó a penetrar en Rusia desde los canales abiertos a Europa, a través de Alemania y de la recientemente adherida Ucrania5. Cuando algunos clérigos ucranianos y bielorrusos se instalaron en Moscú, trajeron consigo el latín y otras influencias europeas producto de su educación tradicional polaca en la Academia de Kiev. Se produjo entonces un resurgimiento del drama eclesiástico6, principalmente ofrecido en las escuelas como forma de educación y de transmisión de temas históricos y bíblicos. Este género, derivado de su homólogo polaco que practicaban los monjes jesuitas, se intercalaba con pequeños intermedios (normalmente improvisados) que animaban las archiconocidas piezas moralistas. A uno de estos monjes, Simeon Polotsky (1629-1680), además de atribuírsele un importante papel en la poesía y la difusión de la cultura de su país, se le reconoce la 1 Existen referencias sobre la representación en Novgorod de la bíblica: El horno ardiente en el s. XVI (En KING, Kimball. Western Drama Through the Ages: A Student Reference Guide Volume I, Greenwood Pres, Westport, USA, 2007, pág. 239 (capítulo de: O'MALLEY, Laurana Donnels. Russian Drama in the XVIII Century.) 2 Ídem. 3 Es por eso por lo que, en ruso, la palabra ‘casarse’ se traduce como ‘actuar/interpretar una boda’. 4 BOGATYREV, Pyotr. Czech Puppet Theatre and Russian Folk Theatre, The Drama Review 43.3 (1999) pág. 99. 5 Ucrania se unió a Rusia en 1654 por el Rada de Pereislav que dio lugar a la guerra Ruso-Polaca (1654-1667). 6 ‘El drama ruso hasta entonces no se había desarrollado como otros europeos a partir del litúrgico y bajo el intento de facilitar la comprensión del Latín a la masa. Principalmente, porque las misas de la Iglesia rusa ortodoxa se celebraban en eslavo eclesiástico antiguo que era parecido a la lengua vernácula’, en: HARDISON LONDRÉ, Felicia y BERTHOLD, Margot. The History of World Theatre: from the English restoration to the present, Continuum, New York, 1999, pág. 130. 7 contexto histórico-teatral ruso e influencias tempranas de STANISLAVSKY elaboración de dos de las primeras obras de la literatura dramática rusa: Una comedia, ‘El hijo pródigo’ y la tragedia, ‘El rey Nabuchadnezzar’. En 1672 el zar Alexis invitó al alemán Johann Gottfried Gregory (1631-1675) a que produjera una obra en honor a su esposa,
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