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Escenografía En La Música De Manuel De Falla: Del Amor Brujo Al Retablo De Maese Pedro

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Escenografía En La Música De Manuel De Falla: Del Amor Brujo Al Retablo De Maese Pedro Universidad de Sevilla Departamento: Historia del Arte Programa de Doctorado: Patrimonio Artístico Andaluz y su Proyección Iberoamericana TESIS DOCTORAL ESCENOGRAFÍA EN LA MÚSICA DE MANUEL DE FALLA: DEL AMOR BRUJO AL RETABLO DE MAESE PEDRO Autora: Ana María Arcas Espejo Directora: María Isabel Osuna Lucena Sevilla, 25 de mayo de 2017 ÍNDICE CAPÍTULO I. INTRODUCCIÓN ........................................................................................... 1 I.1. RESUMEN/ABSTRACT ................................................................................................ 2 I.2. PALABRAS CLAVE/KEY WORDS ........................................................................... 4 I.3. OBJETIVOS DE LA PRESENTE INVESTIGACIÓN .............................................. 5 I.4. METODOLOGÍA ......................................................................................................... 10 I.5. FUENTES CONSULTADAS....................................................................................... 17 I.6. ESTADO DE LA CUESTIÓN ..................................................................................... 22 CAPÍTULO II. INFLUENCIAS Y EXPERIENCIAS ESCENOGRÁFICAS EN TORNO A LA OBRA DE MANUEL DE FALLA ............................................................................... 30 II.1. CONTEXTO CULTURAL. APROXIMACIÓN AL PANORAMA TEATRAL ESPAÑOL DE PRINCIPIOS DE SIGLO XX ................................................................... 31 II.2. PROYECTOS Y EXPERIENCIAS ESCÉNICAS DE MANUEL DE FALLA...... 56 II.2.1. Experiencias escénicas de Manuel de Falla ........................................................ 61 II.2.2. Cronología de los proyectos escénico-teatrales en la vida y obra de Manuel de Falla ............................................................................................................................ 83 II.3. LA VANGUARDIA ESCENOGRÁFICA EUROPEA ........................................... 88 II.3.1. Propuestas escenográficas renovadoras contemporáneas a la figura de Manuel de Falla ................................................................................................................ 88 II.3.2. La escenografía de los Ballets Rusos ................................................................. 107 II.3.2.1. Serguéi Diáguilev y Manuel de Falla ................................................ 115 II.3.3. Los títeres y las marionetas en el contexto plástico de Manuel de Falla ...... 125 II.4. LOS ESCENÓGRAFOS DE MANUEL DE FALLA EN EL AMOR BRUJO Y EL RETABLO DE MAESE PEDRO ....................................................................................... 142 II.4.1. Néstor Martín Fernández de la Torre ............................................................... 144 II.4.2. Gustavo Bacarisas ................................................................................................ 156 II.4.3. Hermenegildo Lanz ............................................................................................. 168 II.4.4. Manuel Ángeles Ortiz ......................................................................................... 186 II.4.5. Hernando Viñes ................................................................................................... 193 II.4.6. Ignacio Zuloaga.................................................................................................... 200 CAPÍTULO III. CONSOLIDACIÓN Y EVOLUCIÓN ESCÉNICA DE EL AMOR BRUJO ..................................................................................................................................... 216 III.1. EL GERMEN DE UNA CREACIÓN .................................................................... 218 III.1.1. María Lejárraga de Martínez Sierra y Falla .................................................... 218 III.1.2. La procedencia folclórica de El amor brujo ...................................................... 225 III.1.3. Argumento y reparto ......................................................................................... 231 III.2. EL FRACASO DE 1915 ............................................................................................ 234 III.2.1. Recepción y repercusión mediática ................................................................. 234 III.2.2. Condicionantes escénicos .................................................................................. 237 III.3. UN BALLET PARA LA ARGENTINA ................................................................. 240 III.3.1. Modernismo y casticismo español en la técnica de Antonia Mercé ............ 240 III.3.2. La estilización del flamenco .............................................................................. 243 III.3.3. La vida privada de los gitanos: un laboratorio etnográfico para Antonia Mercé ................................................................................................................................ 246 III.3.4. El contacto con lo jondo: las viejas Macarrona y Golondrina ...................... 250 III.4. DRAMATIZACIÓN DEL FOLCLORE ANDALUZ .......................................... 253 III.4.1. El montaje de 1925 .............................................................................................. 254 III.4.2. El guion escénico: plan de danza ..................................................................... 261 III.4.3. El amor brujo en el París de 1925 ....................................................................... 269 III.4.4. Evolución de El amor brujo en la carrera de Antonia Mercé ......................... 272 III.5. ESCENOGRAFÍA E INDUMENTARIA EN EL AMOR BRUJO DE ANTONIA MERCÉ ........................................................................................................... 279 III.5.1. Elementos iconográficos. Aspectos decorativos de la cultura rural gitana 279 CAPÍTULO IV. ANÁLISIS DRAMATÚRGICO: GITANERÍA (1915) Y BALLET EN UN ACTO DE EL AMOR BRUJO (1925) ........................................................................... 286 IV.1. ESTUDIO EVOLUTIVO DEL LIBRETO ............................................................ 287 IV.2. DESGLOSE POR ESCENAS Y ACTOS .............................................................. 288 IV.3. CUADRO DE PRESENCIAS: VISUALIZACIÓN DE LA TENSIÓN ESPACIAL Y TEMPORAL............................................................................................... 291 CAPÍTULO V. CONSOLIDACIÓN Y EVOLUCIÓN ESCÉNICA DE EL RETABLO DE MAESE PEDRO ............................................................................................................... 295 V.1. ASPECTOS ESCÉNICOS VINCULADOS A LA CREACIÓN DE EL RETABLO DE MAESE PEDRO ....................................................................................... 297 V.2. ARGUMENTO Y PERSONAJES ............................................................................ 306 V.3. VERSIÓN ORQUESTAL EN EL TEATRO SAN FERNANDO, SEVILLA (1923) V.3.1.Condicionantes escénicos .................................................................................... 315 V.4. VERSIÓN ESCÉNICA EN EL PALACIO DE LA PRINCESA DE POLIGNAC, PARÍS (1923) ....................................................................................................................... 324 V.4.1. Condicionantes escénicos ................................................................................... 324 V.4.2. Escenografía y equipo técnico del estreno parisino ........................................ 328 V.5. VERSIÓN ESCÉNICA EN EL TEATRO SAN FERNANDO, SEVILLA (1925). GIRA ESPAÑOLA DE EL RETABLO DE MAESE PEDRO ....................................... 342 V.5.1. Condicionantes escénicos ................................................................................... 342 V.5.2. Escenografía y equipo técnico del estreno sevillano ...................................... 349 V.5.3. Problemas técnicos derivados del teatrillo ...................................................... 367 V.6. VERSIÓN ESCÉNICA EN EL TEATRO HOLLANDSCHE SCHOUWBURG, ÁMSTERDAM (1926) ....................................................................................................... 381 V. 7. VERSIÓN ESCÉNICA EN LA ÓPERA CÓMICA, PARÍS (1928) .................... 387 V.8. CRONOLOGÍA DE EL RETABLO DE MAESE PEDRO .................................... 395 CAPÍTULO VI. ANÁLISIS DRAMATÚRGICO DE EL RETABLO DE MAESE PEDRO………………………………………………………………………………………400 VI.1. ESTUDIO EVOLUTIVO DEL LIBRETO ............................................................ 401 VI.2. DESGLOSE POR ESCENAS Y ACTOS .............................................................. 416 VI.3. CUADRO DE PRESENCIAS: VISUALIZACIÓN DE LA TENSIÓN ESPACIAL Y TEMPORAL............................................................................................... 418 CAPÍTULO VII. CATÁLOGO DE IMÁGENES .............................................................. 427 VII.1. Sobre cómo está elaborado el presente catálogo VII.2. Material gráfico vinculado a las experiencias escenográficas en torno a la obra de Manuel de Falla VII.3. Material gráfico vinculado a El amor brujo VII.4. Material gráfico vinculado a El retablo de maese Pedro CONCLUSIONES ................................................................................................................. 648 BIBLIOGRAFÍA CONSULTADA ...................................................................................... 667 Libros y artículos especializados Catálogos de exposiciones Tesis doctorales y trabajos de investigación Prensa periódica Fuentes electrónicas ÍNDICE DE TABLAS ...........................................................................................................
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