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Tesoros Digitales 16 8)73637(-+-8%0)7 1914-1918 : una aproximación a la literatura de la Gran Guerra – (2) La Guerra imaginada Publicamos en abril pasado el primer capítulo de 1914-1918 : una aproximación a la literatura de la Gran Guerra, que trataba de las experiencias vividas en .rimera persona, a través de -e-orias, diarios, correspondencia, poemas e incluso dibujos e ilustraciones de los autores que tuvieron 0ue .artici.ar, de cerca o no, en esta contienda, de la 0ue Europa con-e-ora el centenario este año 5614. %es proponemos con esta segunda .arte, titulada 1914-1918 : una aproximación a la literatura de la Gran Guerra – (2) La Guerra imaginada, continuar nuestro recorrido evocando las obras no directa-ente biográficas : la narrativa de esta 2.oca, y de las décadas que siguieron el armisticio, 0uedó .rofundamente marcada por la guerra y existe un a-.lío abanico de novelas, obras de teatro, libros infantiles y juveniles inspirados .or este conflicto. Como ya es costumbre en Tesoros Digitales, .ropondremos los enlaces hacia el texto en l/nea de las obras presentadas, pertenecientes al :o-inio Público. La guerra en escena La representación de la Gran Guerra desde un punto de vista dra-8tico ha sido un .oco eclipsada .or la abundante .roducci&n biográfica, poética y narrativa. No obstante, fueron varias las obras de teatro que vieron la lu< : recreaciones de la vida en las trincheras, alegorías pacifistas, o incluso comedias que denunciaban lo absurdo de la guerra. Autores de la talla de J.M. Barrie o Stefan Zweig aportaron obras que, a .esar de haber sido un poco olvidadas hoy en día, tuvieron su repercusión en aquellos años difíciles. ◄ Ilustración : Imperial War Museum (licencia de uso no co-ercial del IW=$. Leónidas Andreiev !+>!?!"!"$ fue un escritor, dramaturgo y .eriodista ruso. )us obras conocieron cierto éxito y fueron llevadas a la escena. Demócrata, apoyó las sucesivas revoluciones rusas .ero, augurando que la llegada al poder iba a ser catastrófica .ara su Nellie E. Isaac – Behind the scenes in the canteen theatre. Waiting in the wings : Gordon, país, se e1ilió en !"!> a Finlandia donde Watney & Co., Aeronautical Engineers, Weybridge !"!#$ muri& en el olvido dos años -8s tarde. Acogi& la guerra con entusiasmo, deseoso de im.oner una derrota a Alemania .ara poder iniciar un nuevo ciclo de revoluciones europeas. En !"!7 escribe una obra de teatro titulada Король, закон и свобо!а El Rey, la ley $ la libertad, traducida en inglés co-o The )orr*+s *, Bel.ium), obra de teatro sobre el heroísmo del pueblo belga frente a la invasión alemana. Esta obra llegó a ser llevada a escena en Estados Unidos. Ilustración : Wikimedia C*mm*ns. ► Leónidas Andreiev Escritor y dra-aturgo del expresionismo ale-8n, Reinhard Goering !++>?!"36), que había estudiado medicina, fue mandado al 9rente como médico -ilitar. No obstante, enfermo de tuberculosis, es enviado a un sanatorio en Davos )uiza), donde permanecer8 hasta el final del conflicto. Es en Davos que escribirá su obra maestra, el drama teatral Seeschlacht -atalla naval, !"!7). En esta obra, Goering se ale3a del contexto .uramente histórico para centrarse en las reacciones hu-anas en estas situaciones extremas. )eis tri.ulantes, en la torreta de combate de un acorazado durante la batalla de )kagerraD en !"!6, se enfrentan, ante la incertidu-bre de una muerte inminente, al dile-a de seguir combatiendo o amotinarse. Ano de ellos, consciente de lo absurdo de la guerra, anima a sus compañeros a rebelarse, cuestionando la obediencia ciega y abogando por la autonomía individual y la capacidad de los hombres para decidir por sí mismos. No obstante, al constatar que sus compañeros siguen dominados .or el miedo y la venganza, renuncia a sus ideales, acepta la guerra y participa activamente en la batalla. (einhard Goering – Sea Battle, ilustración de Erich Büttner !"!+$ ◄ Ilustración : 2*s Angeles County Museum of Art (2ACMA)6 Los cuatro cuentos teatralizados que co-.onen el volu-en Echoes *, the +ar Ecos de Servicio Municipal de Bibliotecas de Vila-real 1 la guerra, audiolibro en inglés, !"!+$ 9ueron escritos por J.M. Barrie !+C6?!"B>$, autor y dramaturgo escocés, inolvidable creador de Peter 7an, para apoyar la campaña de soporte a la guerra. ,ero más que obras bélicas, son historias de duelo y de -uerte, compuestas por un ho-bre dolido por la -uerte en el 9rente, en !"!G, del 0ue consideraba como su hijo adoptivo, George Llewelyn Davies, fuente de inspiración, con sus hermanos, de 7eter Pan. An hijo, que marcha sin entusiasmo para el frente, prueba su uniforme ante la -irada poco entusiasta de su padre, los dos incó-odos en esta .rimera (y quizás última$ verdadera conversación cara a cara… Ana señora mayor quiere co-.etir con sus amigas contando hazañas de algún ser querido en el frente, y se inventa a un hijo soldado I un día, le anuncian que su hijo ha vuelto del frente… Ecos de la guerra, pero ta-bi2n resonancias con Peter 7an, la obra cu-bre de Barrie, ya que todas estas obras tratan de có-o la vida 9amiliar se tiene 0ue acomodar a la dolorosa realidad de la pérdida de un ser querido… Ilustración : Wikimedia C*mm*ns. ► Sir James Matthew Barrie La figura del escritor austr/aco Stefan Zweig !++!?!"75$ permanece asociada a la de Romain Rolland, y a los movimientos .acifistas llegados de Suiza desde los primeros -eses de la guerra. Desde el primer momento, Zweig, al igual que Rolland, sintió la necesidad de poner su talento al servicio de la causa pacifista. No obstante, como – a diferencia de Rolland, 0ue se qued& en Suiza durante toda la guerra – no abandonó su .aís por completo durante estos años, muy pronto fue consciente de 0ue la censura en este contexto bélico no le permitiría publicar una obra deliberada-ente paci9ista. Zweig se puso a estudiar la Biblia donde encontró la historia del profeta Jeremías, que aboga por la paz e insta al rey de Judá, Sedecías, a someterse a Nabucodonosor, -ientras el falso profeta Jananías invita al pueblo a coger las armas. :esde !"15, la elecci&n de esta historia como -etáfora de los movimientos pacifistas en Europa durante la Gran Guerra, así como la elección de la forma teatral, -edio ideal para representar el enfrentamiento entre la -ayoría belicista y la ínfima minoría pacifista, fueron cogiendo fuerza en la mente del escritor. Zweig necesitó dos años para redactar esta obra, .ues tuvo que co-.aginar la escritura con los horarios y las necesidades de su servicio nacional, habiendo sido -ovilizado en los servicios -inisteriales de redacción de co-unicados de guerra y estudio de la prensa internacional. Stefan Zweig – Jeremias !"56$ Jeremias Jeremías, texto en inglés$ ve la lu< en !"18, largo drama en nueve cuadros que Zweig consideró uno de sus -e3ores trabajos y conoci& un enorme éxito editorial. %a lectura de Jeremias puede resultar -olesta para un lector del siglo XXI, que no podr8 evitar leer esta obra a la luz de la )hoah I en efecto, ade-8s de la -etáfora pacifista, este drama expresa el derrotismo radical de su autor frente al destino del pueblo judíoH ◄ Ilustración : Internet Archive. : Baruch : El momento es nuestro, $ nos toca tomar nuestra venganza. Os ha%=is humillado, nosotros nos levantarem*s. >abéis fracasa&*, nosotros tendremos éxito. Tenéis la pa;, nosotros querem*s la guerra. Zebulon : B Qué sabes &e la .uerra D Nosotr*s, l*s ancianos, hem*s c*noci&* la guerra6 "n los libr*s la .uerra es grande, pero, en reali&ad, la guerra es destructora, es secuestradora de vi&as. Baruch : Yo no temo a la guerra. G Acabemos con la esclavitud ! » Vernon Lee (pseudónimo de Violet aget, !+GC?!"BG$ fue una escritora británica, recordada hoy por sus relatos 9antásticos y sus traba3os sobre estética. Vivió en Florencia durante una gran parte de su vida, desde !++" hasta su muerte, estancia .rolongada que tuvo que interrumpir durante los años de guerra. Fe-inista comprometida, también abra<& la causa del .acifismo al estallar el conflicto europeo y militó en la Union of emocratic Control, grupo de presión antimilitarista creado en !"!7. Satan the +aster : a philos*phic war tril*gy, wit( notes an& introduction Satán el gastador : una trilogía filosófica &e guerra con notas e introducción$ es una obra .articular en la trayectoria literaria de Vernon Lee. Publicado en !"56, este drama fue concebido para ser leído, .ero no llevado a la escena, y reto-a un relato publicado en !"!G titulado The Ballet *, the nations El -aile de las naciones$ adaptándolo a una 9orma teatral y completándolo con una introducción y un epílogo además de un con3unto de notas y ensayos. ,artiendo del .ostulado de que esta guerra no puede tener sentido a no ser 0ue sea fruto de la imaginación de una mente diabólica, Vernon Lee .ropone una dura visión satírica no sólo de la inanidad de las estrategias militares sino ta-bi2n de las e-ociones de los im.licados, desde las -adres de luto hasta los soldados .atrióticos, que alimentaron el fervor nacional y contribuyeron a apoyar la guerra… Ilustración : Wikimedia C*mm*ns. ► Servicio Municipal de Bibliotecas de Vila-real 2 : Ke esta manera, una vez un país se (a comprometi&o, sus jóvenes combatientes, sus padres $ viudas de luto, consagran su causa con sus riesgos $ sus agonías. Desde el principio, $ en cada %and* beligerante, esta guerra se eleva al estatus de cruzada, $ se vuelve sagrada para los corazones que abraza * tortura. 3(*ra, cualquiera @ue, de esta manera, se haya convertido en un santo $ adulad* por multitudes de (ombres $ mujeres, posee también el p*&er &e hacerl*s sufrir en su sensibili&ad mJs vital, sufrir atr*zmente $ vengativamente M @ue al.una duda * crítica sea aportada en c*ntra &e eso6 Se .l*r9an en su cruz, pegados a ella con Vernon Lee – Mhe Ballet of the nations, cubierta Vernon Lee Liolet Paget), retratada por John de Maxwell Ar-9ield !"!G$ to&* su amor M $ toda persona equi1*cada Singer Sargent (1881) que sugiera @ue &ebe ser tumbada es acusada de profanar $ robar su tesoro.
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