Teatro Galego E Construción Nacional: Os Cadernos Da Escola Dramática Galega (1978-1994) by David García Vidal
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Teatro galego e construción nacional: os Cadernos da Escola Dramática Galega (1978-1994) by David García Vidal A thesis submitted to The University of Birmingham for the degree of Doctor of Philosophy Department of Hispanic Studies College of Arts and Law The University of Birmingham July 2009 ABSTRACT Taking Itamar Even-Zohar‟s „polisystem theory‟ and Pierre Bourdieu‟s „theory of the field of cultural production‟ as a starting point, the objective of this research is to analyse the development of Galician theatre and the re-configuration of the literary system during the period of institutionalization of Galician culture after Franco‟s death and the coming of democracy and political autonomy. By studying the 105 Cadernos published by the Escola Dramática Galega between 1978 and 1994, which cover a wide range of literary activities, the conflicts and tensions between different models and repertoires as well as the position and the contradictions of the Escola Dramática Galega during that process are brought to light. Gonzalez Millán‟s theoretical concepts of „literary nationalism‟ and „national literature‟ will be useful in order to analyse the role that drama had in the nation-building process in Galicia and the consequences that that fact had on the development of the system. Conclusions are also drawn concerning the limits imposed on the development of contemporary drama by the historical subsidiary position of the Galician literary system. For research into the role of literature and theatre in processes of nation-building. Aos meus pais ACKNOWLEDGEMENTS This work would not have been possible without the support of the Seminario de Estudios Galegos at The University of Birmingham, which provided with the financial support that allowed me to carry out with this research. I am deeply grateful to my supervisor, Dr Patricia Anne Odber de Baubeta for supporting me during the last years, believing in me and giving that final push I needed to complete my work. She bravely agreed to take on the supervision of this thesis halfway through and since then her advice has been extremely helpful and valuable. I am also very grateful to Professor Derek Flitter for his insightful ideas and suggestions which were very useful at the early stages of my research. I would also like to thank my colleagues from the Department of Hispanic Studies for the support they gave me all years. I would like to specifically acknowledge Dr Marta Simó Comas. Her natural disposition to help, collegiality and sharp sense of humour have made my work and life here easier, allowing me to spend more time and energy on this research. Even though we have not seen each other as often as I would have liked during the last years, my colleagues Dr Dolores Vilavedra, from the University of Santiago de Compostela, and Dr Alejandro Alonso in C.U.N.Y. have also played a very important role in the way that this work has been approached from the very beginning. I also need to thank my friends in Birmingham and Santiago (too many to list here but you know who you are!) for providing the support and being there for me in the good and in the bad times. But I would like to especially thank two of them as their role in my finishing this PhD has been crucial. Dr Daniel Muñoz Sempere has been a constant role model and inspiration for me since I met him a few years ago and his contribution to keep me motivated has been invaluable. Dr Conrad James has given me permanent encouragement, self-belief and unconditional friendship on a daily basis since I arrived in Birmingham and I cannot think of him but as a brother. Having the chance to meet both of them and becoming close friends has been a privilege, personally as well as intellectually, that I expect to keep for the rest of my life. This work would not have been achieved without the support and love of my family in Santiago. My hard-working parents have been an example of generosity and integrity during all my life. They always respected my decisions and provided unconditional love and care. My brother and sister, as well as their partners, have always been there for me, with their love, support and honest advice. I don‟t forget my intelligent, beautiful and lovely two nieces. I love all of them so much, and I would not have made it this far without them. I know that despite the distance I always have them to count on when times are hard. The best thing that happened to me during the last years has been finding my best friend, soul-mate, and partner: Naomi. Since we have been together, I have been aware that every time I have been working on this research she might have felt neglected. During the last weeks it has been especially difficult for her to get me out of „my world‟, but she has been extremely patient, loving and understanding and she has helped me in ways that are impossible to measure. For these reasons (and many more) she will always have all my gratitude and love. TABLE OF CONTENTS INTRODUCIÓN 1 1. Os Cadernos da EDG coma obxecto de estudio 2 2. Sistema literario e campo literario 9 3. A literatura nos procesos de construcción nacional: “nacionalismo literario” 14 e “literatura nacional” 4. Literatura dramática e creación teatral 19 5. Criterios de organización e síntese dos capítulos 22 Capítulo I: TEXTOS FUNDACIONAIS E MITOS NACIONAIS: HITORIA E 29 DRAMA HISTÓRICO 1. Orixes do teatro galego 30 2. Textos fundacionais do teatro galego 37 3. Mitificación do pasado e fetichización dos textos 44 3.1. O Romanticismo e a historia 47 3.2. Historiografía, historia e nacionalismo 49 3.3. O drama histórico na Galicia do Rexurdimento 55 4. Primeiras tentativas de institucionalización 76 5. Conclusións 80 Capítulo II: CARA UNHA LITERATURA NACIONAL: CONSTRUCIÓN 85 DUN CANON E REPRESENTACIÓNS DA NACIÓN 1. A evolución do sistema teatral galego entre 1915 e 1936 86 1.1. A intervención das Irmandades da Fala no sistema teatral 88 1.2. Efectos na configuración do sistema teatral galego 96 1.3. A produción dramática durante a ditadura de Primo de Rivera (1923- 100 30): actividade editorial, polémicas e tentativas de construír un canon 1.4. O teatro galego durante a Segunda República (1931-1936) 105 1.5. O sistema teatral galego á volta de 1936 110 2. Mitificación de espacios e utilitarismo dos textos 113 2.1. A lingua e o “sentimento da Terra” 113 2.2. Reivindicacións do nacionalismo galego: a cuestión da emigración 116 2.3. Imaxes e reivindicacións nacionais no teatro galego (1920-1936) 119 3. Tendencia ao épico e representación dos valores do “grupo” 127 3.1. Evolución histórica da fidalguía galega 128 3.2. O corpus ideolóxico da Xeración Nós 130 3.3. O teatro dos membros da Xeración Nós nos Cadernos da EDG 134 4. O teatro galego de avangarda: Rafael Dieste 141 5. Conclusións 143 Capítulo III: VOLUNTARISMO CONTRA SILENZO: O TEATRO 149 GALEGO DURANTE A DITADURA FRANQUISTA EN GALICIA E NA DIÁSPORA 1. O teatro galego durante a ditadura franquista 149 2. O teatro galego na diáspora: emigración e exilio 158 2.1. O concepto de diáspora 159 2.2. O desenvolvemento do teatro galego na emigración 162 2.3. A aportación dos exiliados á diáspora galega: recomposición do 168 discurso político e cultural 2.4. Liñas creativas no teatro galego da diáspora entre 1936 e 1970: Luís 173 Seoane 2.5. Os Cadernos da EDG ante o teatro da diáspora 188 3. O Premio Abrente e a Mostra de Teatro de Ribadavia (1973-1980) 192 3.1. A Mostra de Teatro de Rivadavia 194 3.2. O Concurso Abrente de Textos Teatrais 198 3.3. Os autores de Abrente nos Cadernos da Escola Dramática Galega 201 4. Conclusións 206 Capítulo IV: O TEATRO CONTEMPORÁNEO: AUTONOMÍA E 209 INSTITUCIONALIZACIÓN DO SISTEMA 1. Institucionalización e autonomía do sistema: o papel da EDG 209 2. A canonización de modelos a través do Concurso de Teatro Breve da EDG 215 2.1. Análise dos textos premiados (1979-1984) 216 2.2. Análise dos textos premiados (1985-1987) 223 2.3. Análise dos textos premiados (1988-1994) 229 2.4. Técnicas dramáticas e temas dominantes 233 3. A construcción dun repertorio teatral: novos temas e voces no teatro galego 236 4. O monólogo como técnica dramática dominante 242 5. Lingua e verosimilitude no teatro galego contemporáneo 246 5.1. Lingua e verosimilitude en situacións diglósicas 247 5.2. A cuestión da verosimilitude no teatro galego 249 5.3. O impacto da normativización do galego e dos medios de 254 comunicación 6. A cuestión do teatro infantil 255 7. Conclusións 262 Capítulo V: MODELOS PARA O TEATRO GALEGO: AS TRADUCIÓNS 268 NOS CADERNOS DA EDG 1. Interferencia, transferencia e tradución 268 2. A función da tradución no sistema literario 271 3. A tradución de textos (dramáticos) nos Cadernos da EDG 276 3.1. Textos (dramáticos) procedentes de sistemas literarios prestixiosos 276 3.2. Traducións, versións ou adpatacións de “clásicos” ou textos 289 (dramáticos) procedentes de literaturas lonxanas 3.3. Traducións de obras dramáticas doutros sistemas literarios 294 minorizados 3.4. Aproximacións aos sistemas literarios veciños: o portugués e mais o 298 español 3.4.1. O teatro (en) portugués: ¿un outro desexado coma o mesmo? 299 3.4.2. O teatro (en) español: ¿o mesmo desexado coma un outro? 304 4. Conclusións 311 CONCLUSIÓNS XERAIS 316 Apéndice: Lista de textos publicados nos 105 números dos Cadernos da EDG 323 Bibliografía 330 INTRODUCIÓN O obxectivo principal deste traballo é facer un estudio da incidencia e relevancia da actividade editorial da Escola Dramática Galega (EDG) no proceso de (re)fundación e (re)configuración do sistema literario/teatral1 galego entre 1978 e 1994, periodo en que se están a dar os primeiros pasos para a institucionalización dunha cultura que historicamente estivera marxinalizada ou subordinada.