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Macbeth En Ocho Momentos De La Historia Del Teatro Inglés

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Macbeth En Ocho Momentos De La Historia Del Teatro Inglés DEPARTAMENT DE FILOLOGIA ANGLESA I ALEMANYA “WHEN SHALL WE THREE MEET AGAIN?”: MACBETH EN OCHO MOMENTOS DE LA HISTORIA DEL TEATRO INGLÉS ADELAIDA BLASCO CEREZUELA UNIVERSITAT DE VALÈNCIA Servei de Publicacions 2009 Aquesta Tesi Doctoral va ser presentada a València el dia 12 de desembre de 2008 davant un tribunal format per: - Dr. Juan Vicente Martínez Luciano - Dr. Vicent Montalt i Resurrecció - Dr. Ignacio Ramos Gay - Dr. José Manuel González Fernández de Sevilla - Dra. Ana Rosa Calero Varela Va ser dirigida per: Dr. Miguel Teruel Pozas ©Copyright: Servei de Publicacions Adelaida Blasco Cerezuela Dipòsit legal: V-3729-2009 I.S.B.N.: 978-84-370-7486-3 Edita: Universitat de València Servei de Publicacions C/ Arts Gràfiques, 13 baix 46010 València Spain Telèfon:(0034)963864115 WHEN SHALL WE THREE MEET AGAIN? Macbeth en ocho momentos de la historia del teatro inglés. Tesis doctoral realizada por: Adelaida Blasco Cerezuela. Dirigida por: Miguel Teruel Pozas. ÍNDICE. 1. INTRODUCCIÓN GENERAL.... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... 5 2. MACBETH DE WILLIAM SHAKESPEARE: ORÍGENES Y NATURALEZA PLURAL.... 11 2.1. INTRODUCCIÓN. … … … … … … … … … … … … … … … … … … … … … ... .14 2.2. PARENTESCOS CON OTRAS FUENTES DE CONOCIMIENTO DE SU ÉPOCA. ..15 2.2.1. Los primeros movimientos de Macbeth sobre escenarios jacobinos. … … ... 15 2.2.2. Fuentes históricas. … … … … … … … … … … … … … … … … … … … ...18 2.2.3. La crónica de Raphael Holinshed. … … … … … … … … … … … … …... ... 23 2.2.4. Fuentes literarias. ... … … … … … … … … … … … … … … … … … … ... 32 2.2.5. Influencias de la política y sociedad contemporánea. … … … … … … … ... .37 2.2.6. Convenciones de representación del teatro jacobino en Macbeth. ... ... ... ... .44 2.3. MACBETH Y EL GÉNERO DE LA TRAGEDIA. … … … … … … … … … … ….. ... 61 2.3.1. Una acción acelerada e imprecisa. … … … … … … … … … … … … … …. 63 2.3.2. El monólogo. … … … … … … … … … … … … … … … … … … … …... ... .64 2.3.3. Un lenguaje sugerente. … … … … … … … … … … … … … … … … … …..72 2.3.4. Recursos retóricos. … … … … … … … … … … … … … … … … … … …. 74 2.4. PERSONAJES. … … … … … … … … … … … … … … … … … … … … … … ... 83 2.4.1. Macbeth: metamorfosis escénicas a lo largo de cinco siglos. … … … … … ..84 2.4.2. Macbeth: un culpable relativamente disculpable. … … … … … … … … … ..87 2.4.3. Lady Macbeth: multiplicidad de matices interpretativos. … … … … … … ... 101 2.4.4. Lady Macbeth: reflejo de una colisión entre actitudes personales virtualmente opuestas. … … … … … … … … … … … … … … … … … … … … … ... ..104 2.4.5. Infinidad de posibilidades interpretativas sobre la imagen de las tres hermanas hechiceras. … … … … … … … … … … … … … … … … … … ... ... ... ... ... .118 2.4.6. “Fair is foul and foul is fair.” … … … … … … … … … … … … … … … … ..120 2.5. CONCLUSIÓN. … … … … … …. … … … … … … … … … … … … … … … … ..131 3. MACBETH DE SIR WILLIAM DAVENANT. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...133 3.1. INTRODUCCIÓN. … … … … … … … … … … … … … … … … … … … … … ....136 3.2. MACBETH, UNA TRAGEDIA “RENOVADA”. … … … … … … … … … ... ... … ..137 3.3. “RENOVACIÓN” DEL ARGUMENTO. … … … … … … … … … … … … … … … .139 3.3.1. Ampliación del papel de los personajes femeninos de la obra. …... … … … 140 3.3.2. Insistencia en el tema de la ambición y sus consecuencias. ... ... ... ... ... ... 144 3.3.3. Importancia del decoro y supresión de muestras de violencia en el escenario... .... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ..155 3.3.4. Introducción de nuevos efectos dramáticos: las escenas de las brujas. … …163 3.4. RENOVACIÓN DE LOS PERSONAJES. … … … … … … … … … … … … … … .175 3.4.1. La oposición de “Los Macbeth” frente a “los Macduff”. … … … … … … … ..177 3.4.2. Otros personajes. … … … … … … … … … … … … … … … … … … … …198 3.5. RENOVACIÓN EN EL ESTILO DE ESCRITURA. … … … … … … … … … … … .200 3.5.1. Alteraciones de tipo lingüístico. … … … … … … … … … … … … … … …. 202 3.5.2. Alteraciones de tipo literario. … … … … … … … … … … … … … … … …. 209 3.6. CONCLUSIÓN … … … … … … … … … … … … … … … … … … … … … … … 216 1 4. MACBETH MODERNISED DE ROBERT BELL Y MACBETH, Somewhat Removed DE FRANCIS TALFOURD. … … … … … … … … … … … … … … … … … … … … … .219 4.1. UNA EXPERIMENTACIÓN CÓMICA DEL TEXTO SHAKESPERIANO. … … … …222 4.1.1. La veneración del texto shakesperiano. … … … … … … … … … … … … .222 4.1.2. La obra burlesca del siglo XIX frente a la producción teatral acreditada. … .224 4.2. MACBETH MODERNISED DE ROBERT BELL. … … … … … … … … … … … …227 4.2.1. Un argumento festivo. … … … … … … … … … … … … … … … … … … .228 4.2.2. Configuración cómica de los personajes shakesperianos. … … … … … … .241 4.2.3. Un estilo adaptado a la comedia burlesca. … … … … … … … … … … … ..251 4.2.4. Conclusión. … … … … … … … … … … … … … … … … … … … … … …266 4.3. MACBETH, SOMEWHAT REMOVED FROM THE TEXT OF SHAKESPEARE o MACBETH TRAVESTIE DE FRANCIS TALFOURD. … … … … … … … … … … … ..267 4.3.1. Detalles sobre el proceso de creación de esta comedia de Talfourd. … … ..268 4.3.2. Una estampa cómicamente desfigurada de las producciones victorianas de Macbeth en teatros legítimos. … … … … … … … … … … … … … … … … … .269 4.3.3. El nuevo argumento: ausencia de infortunio y un final feliz . … … … … … ..270 4.3.4. Abyección de los personajes. … … … … … … … … … … … … … … … .. 276 4.3.5. Desbordamiento de alegría, incluso ante acontecimientos trágicos. … … ....283 4.3.6. Una acción acompañada de un entorno cercano al espectador. … … … …290 4.3.7. El cartel, un prólogo a la comedia... ... ... ... ... ... ... ... ... ... ... ... ... … … … 297 4.3.8. Un lenguaje extraordinariamente irónico y burlón. … … … … … … … … …305 4.4. CONCLUSIÓN. … … … … … … … … … … … … … … … … … … … … … … …321 5. MACBETH SKIT. GEORGE BERNARD SHAW. … … … … … … … … … … … … .. .323 5.1. INTRODUCCIÓN. ……………………………………………………………………….. 326 5.2. LA OBRA SHAKESPERIANA EN LA ÉPOCA DE SHAW. ………… … ... ... ... ... .327 5.2.1. Predilección por una nueva concepción del teatro. …………………………...328 5.2.2. Shakespeare como símbolo de ideas antiguas e inusitadas. ………………..329 5.2.3. El rescate del texto shakesperiano. …………………………………………... .333 5.2.4. Desafío a la leyenda shakesperiana. …………………………………………...334 5.3. MACBETH SKIT: LA OBRA SHAKESPERIANA A DEBATE. ……………………... .337 5.3.1. Argumento. ………………………………………………………………………...338 5.3.2. Dos modos de entender la experiencia teatral divergentes en escena.….... .339 5.3.3. Lillah McCarthy y Gerald du Maurier.. … … .. ………………………………... 345 5.4. CONCLUSIÓN. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .359 6. A MACBETH. CHARLES MAROWITZ. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ..361 6.1. INTRODUCCIÓN. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .364 6.2. UNA NUEVA MANERA DE SUMERGIRSE EN EL MITO SHAKESPERIANO. ... ...365 6.2.1. Hacia la experimentación de los clásicos consagrados. ... ... ... ... ... ... ... ... 365 6.2.2. Charles Marowitz y la experiencia shakesperiana. ... ... ... ... ... ... ... ... ... ... 369 6.3. A MACBETH. LOS ENTRESIJOS DE SU MAGIA. ... ... ... ... ... ... ... ... ... ... ... ... ..372 6.3.1. Una historia misteriosa. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ....372 6.3.2. El enigma que envuelve las figuras shakesperianas. ... ... ... ... ... ... ... ... ....373 6.3.3. Una experiencia de maldad absoluta. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ....389 6.3.4. Otros recursos para la experimentación con el medio dramático. ... ... ... ....422 6.4. CONCLUSIÓN. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. ..437 7. MACBETH, UNA LEYENDA AFÍN A SITUACIONES DE SOMETIMIENTO SOCIAL: uMABATHA Y CAHOOT’S MACBETH.... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... 439 7.1. INTRODUCCIÓN. ... ... ... ... ... ... ..... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...442 7.2. uMABATHA. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .443 2 7.2.1. Welcome Msomi y su aventura con la tragedia shakesperiana. ... ... ... ... .. ..443 7.2.2. El Macbeth Zulú. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... 447 7.2.3. La naturaleza de Macbeth que encontramos en uMabatha. ... ... ... ... ... ... ... 448 7.2.4. Una historia inmersa en la cultura zulú. …... ... ... ... ... ... ... ... ... ... ... ... ... ... 454 7.3. CONCLUSIÓN. ... ... ... ... ... .... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ..486 7.4. CAHOOT’S MACBETH. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ..487 7.4.1. El Macbeth que se representaba en el comedor de un piso checoslovaco. ... 488 7.4.2. Argumento. ... ... ... ... ... ..... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... 494 7.4.3. Un clásico shakesperiano ubicado en un contexto social de represión. ... ... .496 7.4.4. El inspector. ... ..... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... 501 7.4.5. Take it Easy. ... ... … … … … … … … … … … … … … … … … … …... …..508 7.4.6. Una exploración auto-referencial del propio evento dramático.. ... ... ... ... ... ..514 7.4.7. Words can be your friend or your enemy … … … …
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