Visión Histórico-Política De México a Través De Cuatro Dramaturgas Mexicanas
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University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2011 Visión histórico-política de México a través de cuatro dramaturgas mexicanas Kandace Kane Holladay [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Spanish and Portuguese Language and Literature Commons Recommended Citation Holladay, Kandace Kane, "Visión histórico-política de México a través de cuatro dramaturgas mexicanas. " PhD diss., University of Tennessee, 2011. https://trace.tennessee.edu/utk_graddiss/979 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Kandace Kane Holladay entitled "Visión histórico-política de México a través de cuatro dramaturgas mexicanas." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. Óscar Rivera Rodas, Major Professor We have read this dissertation and recommend its acceptance: Nuria Cruz-Cámara, Eurídice Silva, Jana Morgan Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Kandace Kane Holladay entitled “Visión histórico-política de México a través de cuatro dramaturgas mexicanas.” I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. Óscar Rivera Rodas, Major Professor We have read this dissertation and recommend its acceptance: Nuria Cruz-Cámara ________________________ Eurídice Silva ________________________ Jana Morgan ________________________ Accepted for the Council Carolyn R. Hodges _____________________________ Vice Provost and Dean of the Graduate School (Original signatures are on file with official student records.) Visión histórico-política de México a través de cuatro dramaturgas mexicanas A Thesis prepared for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Kandace Kane Holladay May 2011 DEDICATION To my entire family whose endless love and support has made this a reality. ii ACKNOWLEDGEMENTS I would like to thank Dr. Óscar Rivera Rodas and Dr. Álvaro Áyo for granting me the opportunity to complete my doctoral studies at the University of Tennessee, Knoxville. I would also like to thank my entire dissertation comitttee: Dr. Óscar Rivera Rodas, Dr. Nuria Cruz-Cámara, Dr. Eurídice Silva and Dr. Jana Morgan for their invaluable suggestions regarding this study. I am indebted to Dr. Eric Henager for showing an endless amount of enthusiasm in my first Spanish course at Rhodes College that ultimately led to this path. There are a couple of people who have made significant contributions to the realization of this project. I would like to express my appreciation to the Mexican historian and professor of political science, Juan Brom, for graciously sharing his extensive knowledge of the rich history of his country not only through his book but through his own voice as well. It was an honor to have known him. Finally, I would like to express my most profound and sincere gratitude to Marcela del Río, who is not only one of the authors studied in this project, but also my mentor and friend. Her passion for teaching transcends the classroom and she made me realize that the learning process never ends. Countless conversations with her about literature, film and Mexican history and politics have broadened my cultural horizons even further and honed my analytical skills. From the first literature class I took with her during my Master’s studies, she has been there every step of the way in my graduate studies, offering advice and encouragement. Everything that I have learned from her has enriched my life in a way that I never expected and she will never know how much her intellectual generosity has meant to me. Muchas gracias, maestra. iii ABSTRACT This dissertation examines the historical and political vision of Mexico in the following plays: Felipe Ángeles by Elena Garro (1916-1998); El eterno femenino by Rosario Castellanos (1925-1974); La paz ficticia by Luisa Josefina Hernández (1928) and Tlacaélel , Felipe Carrillo Puerto: Una flor para tu sueño y El sueño de la Malinche by Marcela del Río (1932). The main objective of this study is to fill in the criticism void about theatre written by women in Mexico (especially their historical theatre). Another very important objective is to show how these historical plays propose the need to change the current political and social structures that have been in place for centuries so that every individual is treated equally regardless of race, sex or social-economical class. These four women playwrights redeem not only female historical characters but also the values embedded in various social movements such as the Yaqui tribe rebellion at the end of the 19th century, the Mexican Revolution and the expropiation of the lands to the people of Spanish extraction who had stripped them from the indigenous people in the Yucatán Peninsula at the beginning of the 20th century. Since these playwrights set their own historical characters’ perspective in contrast to the perspective of them that official history has offered, this approach can be analyzed as a dialogical form, of one conscience opposite another one. Therefore, the study employs the tool for analysis provided by Mikhail Bakhtin in The Dialogic Imagination and Estética de la creación verbal . The ideological divisions presented in Del Rio’s play Felipe Carrillo Puerto: Una flor para tu sueño , are analyzed from Lucien Goldmann’s concept of a utopian world. The heroes of the social movements in three of the plays: La paz ficticia , Felipe Ángeles and Felipe Carrillo Puerto: Una flor para tu sueño allows the application of Georg Lukacs’ theory about the novel to be applied to theatre, because each one of these protagonists can be described very well with iv the term “problematic individual.” The significance of intertextualities present in the play El eterno femenino by Rosario Castellanos is analyzed from the perspective of Gerard Genette in his book Palimpsests . v ÍNDICE INTRODUCCIÓN .......................................................................................................................... 8 CAPÍTULO 1: ÁMBITO CULTURAL DE MÉXICO (1945-1980) ........................................... 12 1.1 El teatro de los años cuarentas..........................................................................................................20 1.2 El teatro de los años cincuentas........................................................................................................22 1.3 El teatro de los años sesentas............................................................................................................28 1.4 El teatro de los años setentas ............................................................................................................39 1.5 El teatro de los años ochentas y noventas.........................................................................................41 1.6 Conclusión........................................................................................................................................43 CAPÍTULO 2: EL TEATRO DE ESCRITORAS MEXICANAS ............................................... 46 2.1 El vacío de la crítica .........................................................................................................................46 2.2 Conclusión........................................................................................................................................75 CAPÍTULO 3: HISTORIA Y POLÍTICA EN EL TEATRO FEMENINO ................................. 76 3.1 Estructura y argumento de Tlacaélel ................................................................................................78 3.2 Tlacaélel y los personajes del mundo político moderno...................................................................83 3.3 La historia como espejo de la realidad actual en Tlacaélel ..............................................................86 3.4 Dialogicidad y reivindicación de la Malinche..................................................................................91 3.5 Argumento de El sueño de la Malinche ...........................................................................................94 3.6 Estructura de El sueño de la Malinche .............................................................................................96 3.7 Análisis textual .................................................................................................................................99 3.8 La dialogicidad en El sueño de la Malinche ...................................................................................102 3.9 La configuración de la Malinche en El eterno femenino (1975) de Rosario Castellanos...............106