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Parábasis, Monólogo Y Stand-Up Comedy En La Obra Cinematográfica De Woody Allen”

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Parábasis, Monólogo Y Stand-Up Comedy En La Obra Cinematográfica De Woody Allen” UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE LINGÜÍSTICA GENERAL, LENGUAS MODERNAS, LÓGICA Y FILOSOFÍA DE LA CIENCIA, TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA ÁREA DE TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA PROGRAMA DE DOCTORADO “LITERATURA EUROPEA: PERSPECTIVAS TEÓRICO-CRÍTICAS EN EL ESTUDIO COMPARADO DE UN SISTEMA TRANSCULTURAL” Tesis Doctoral “Parábasis, Monólogo y Stand-up comedy en la obra cinematográfica de Woody Allen” Doctorando: Marcos García Barrero Directores: Dr. Tomás Albaladejo Mayordomo Dr. José Manuel Cuesta Abad Madrid, octubre de 2015 1 UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE LINGÜÍSTICA GENERAL, LENGUAS MODERNAS, LÓGICA Y FILOSOFÍA DE LA CIENCIA, TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA ÁREA DE TEORÍA DE LA LITERATURA Y LITERATURA COMPARADA PROGRAMA DE DOCTORADO “LITERATURA EUROPEA: PERSPECTIVAS TEÓRICO-CRÍTICAS EN EL ESTUDIO COMPARADO DE UN SISTEMA TRANSCULTURAL” Tesis Doctoral “Parábasis, Monólogo y Stand-up comedy en la obra cinematográfica de Woody Allen” Doctorando: Marcos García Barrero Directores: Dr. Tomás Albaladejo Mayordomo Dr. José Manuel Cuesta Abad Madrid, octubre de 2015 2 Tesis que, para la obtención del Título de Doctor, dentro del Programa de Doctorado “Literatura europea: perspectivas teórico-críticas en el estudio comparado de un sistema transcultural”, presenta el Licenciado Marcos García Barrero bajo la dirección del Doctor Tomás Albaladejo Mayordomo, Catedrático de Teoría de la Literatura y Literatura Comparada de la Universidad Autónoma de Madrid, y del Doctor José Manuel Cuesta Abad, Profesor Titular de Teoría de la Literatura y Literatura Comparada de la Universidad Autónoma de Madrid. 3 AGRADECIMIENTOS Esta tesis no habría sido posible sin la ayuda de Tomás Albaladejo Mayordomo, que creyó en mis posibilidades, me animó a hacer el máster mientras residía en Inglaterra e, incluso, me ayudó con ciertos trámites administrativos cuando la distancia no me permitía gestionarlos personalmente; fundamental ha sido el seguimiento que de mi trabajo ha hecho José Manuel Cuesta Abad, quien en todo momento ha sabido estimular en mí, sotto voce, el estudio de campos que han llegado a ser imprescindibles para la consecución de este estudio; inspiradoras, creativas y aleccionadoras fueron las conversaciones con Mar Gutiérrez Rubio, experta en arte contemporáneo y cinéfila confesa, porque alimentaron la llama que me permitiría ver los ángulos más apasionantes de la figura de Woody Allen; eficaces y lúdicas han sido las correcciones de la editora, y gran amante de la lengua, Maite Rodríguez Jáñez; debo de dar las gracias, también, a Elena Álvarez, Jefa de Calificación de películas del ICAA del Ministerio de Educación y Cultura, por permitirme compatibilizar mi labor como asesor del ministerio con mi carrera artística y académica; a la experta en filología griega y escritora Rosa García-Gasco Villarrubia, que supo darme algunos consejos sensatos para no desfallecer en la recta final; al profesor y artista audiovisual Miguel Espada, que me aconsejó certeramente a la hora de decidir qué tipo de tesis quería hacer; a la directora de escena Ana Kuntzelman, que me ha franqueado la entrada a la stand-up comedy de una forma tanto teórica como práctica; a la filóloga Diana Eguía Armenteros, que me dio a conocer, allá por el año 2007, la Facultad de Filosofía y Letras de la Universidad Autónoma de Madrid; a la actriz y escritora Rosa Puga Davila, por su valiosa escucha y afecto; a Laura Castillo, poseedora de la llave de las películas más recónditas de la filmografía mundial y, más importante aún, alguien que sabe cómo valorar el trabajo de los demás; a la filósofa Rosa María Vegas Bodelón, por ayudarme a plantearme cuestiones filosóficas relativas al azar en las obras analizadas y por valorar mi escritura; y a Carmen Carballedo Pérez, lectora ávida y perspicaz, por comprender y apoyar con cariño y mimo incomparable el desarrollo de este trabajo. 4 PARÁBASIS, MONÓLOGO Y STAND-UP COMEDY EN LA OBRA CINEMATOGRÁFICA DE WOODY ALLEN ÍNDICE 1. OBRA Y FIGURA [pág. 15-46] 1. 1. ¿Por qué Woody Allen? [pág. 15-16] 1. 2. Trayectoria de Woody Allen [pág. 17-18] 1. 3. Entorno cultural y artístico del primer Woody Allen: la tradición y el espectáculo [pág. 19-21] 1. 3. 1. El Flatbush y el primer contacto con el vodevil: magia, música y humor [pág. 19-21] 1. 4. Dirigir, escribir y actuar. La formación de un talento renacentista [pág. 21-39] 1. 4. 1. El director de cine [pág. 21-22] 1. 4. 2. Un escritor a la búsqueda del placer argumental [pág. 23-] 1. 4. 2. 1. El gusto por el relato: El cisne negro [pág. 23-24] 1. 4. 2. 2. Segundo nacimiento de Woody Allen (1952). Maniobras universitarias [pág. 25-29] 1. 4. 2. 3. Encuentros con hombres notables (1): Abe Burrows [pág.30-33] 1. 4. 2. 4. Del chiste al sketch: primeros pasos hacia el mundo interior [pág.34] 1. 4. 2. 5. Encuentros con hombres notables (2): Danny Simon. El chiste, el skecth y la obra teatral [pág. 35-036] 5 1. 4. 2. 6. Tamiment: la forja de un dramaturgo en un teatro de verano [pág. 37] 1. 4. 2. 7. Inicios en la escritura televisiva [pág. 38-39] 1. 4. 3. El humorista y el actor. El ineludible espejo de Bob Hope [pág. 40-46] 1. 4. 3. 1. Encuentros con hombres notables (3). El elemento especular en Bob Hope [pág. 40-41] 1. 4. 3. 2. Influencia de la tradición en la creación del personaje humorístico. El schnook y el schnooky [pág. 42-43] 1. 4. 3. 3. Bob Hope y el comentario a cámara o aparte [pág. 44] 1. 4. 3. 4. Primera actuación como humorista [pág. 45-46] 2. MARCO DE REFERENCIAS CULTURALES [pág. 47-85] 2. 1. Marco sociocultural del primer Woody Allen [pág. 47-48] 2. 2. Charly Parker y la Nueva Ola [pág. 49] 2. 3. Encuentros con hombres notables (4): Mort Sahl y la comedia cerebral [pág. 50- 57] 2. 4. La metrópolis y su función dentro de la modernidad [pág. 58-61] 2. 5. Condiciones políticas y sociales para el nacimiento de un nuevo público en el Estados Unidos de la posguerra [pág. 61-62] 2. 6. El existencialismo de Sartre y Camus. Autodidactismo en Allen [pág. 63-65] 6 2. 7. El Modernismo en el marco de la obra alleniana [pág. 66-72] 2. 8. La Posmodernidad y su continuo post mortem [pág. 73-85] 3. OBRAS CINEMATOGRÁFICAS RELATIVAS AL TEMA DE ESTUDIO [pág. 86-97] 3. 1. Justificación de la pertinencia de los objetos de estudio relativos al análisis [pág. 86-87] 3. 2. Objetos principales de estudio [pág. 88-97] 3. 2. 1. Annie Hall. Ficha técnica. Argumento [pág. 88-92] 3. 2. 2. Whatever it Works (Si la cosa funciona). Ficha técnica. Argumento [pág. 93-97] 4. EL ESTADO DE LA CUESTIÓN [pág. 98-103] 4. 1. Estudios principales sobre Woody Allen. Investigaciones sobre el hecho dramático en su obra [pág. 98-101] 4. 2. Aportaciones del presente estudio al campo científico en el que se circunscribe [pág. 101-102] 4. 3. Breve descripción de la metodología relativa al presente estudio [pág. 102-103] 7 5. CONCEPTUALIZACIÓN DE LOS RECURSOS ESTILÍSTICO-FORMALES RELATIVOS A L PRESENTE ESTUDIO: PARÁBASIS, MONÓLOGO Y STAND-UP COMEDY [pág. 104-198] 5. 1. LA PARÁBASIS. ESTUDIOS TEÓRICOS. (Luis Gil Fernández y José García López, Patrice Pavis, Heinrich Lausberg, Anne Ubersfeld, Francisco Rodríguez Adrados) [pág. 104-116] 5. 1. 1. Definición de parábasis. (Según Patrice Pavis) [pág. 105] 5. 1. 2. Definición de aversio y direccionalidad del discurso del orador clásico (Según Heinrich Lausberg) [pág. 105-106] 5. 1. 3. Función justificativa, crítica e ideológica de la parábasis en Luis Gil Fernández y Jesús García López [pág. 106-107] 5. 1. 4. Estructura de la parábasis en Aristófanes. (Según Luis Gil) [pág.107-110] 5. 1. 5. Definición y funciones del coro. (Según Anne Ubersfeld) [pág. 110-111] 5. 1. 6. Diferencia entre parábasis y agón. El coro en la tragedia y en la comedia. Diferencia entre tragedia y comedia. (Según Rodríguez Adrados) [pág. 112-116] 5. 2. EL MÓNOLOGO. ASPECTOS TEATRALES Y LITERARIOS. (Patrice Pavis, José Sanchis Sinisterra, Anne Ubersfeld, Miguel Fernández Labayen y Peter Szondi) [pág. 117-136] 5. 2. 1. Definición de monólogo, inverosimilitud, tipología y rasgos. (Según Patrice Pavis) [pág. 117-121] 5. 2. 2. Definición de soliloquio. Funciones dramatúrgicas. (Según Patrice Pavis) [pág. 121-122] 5. 2. 3. Definición del monólogo. Carácter interpelativo. Función discursiva. Destrucción de la dramaturgia dialogal. (Según José Sanchis Sinisterra) [pág. 122-123] 8 5. 2. 4. Definición de monólogo. Relación con el soliloquio. El monólogo y sus destinatarios. El soliloquio. (Según Anne Ubersfeld y Gérard Genette) [pág. 124-125] 5. 2. 5. La enunciación. La doble enunciación autor-personaje. (Según Anne Ubersfeld) [pág. 125] 5. 2. 6. El aparte. Análisis comparativo entre el aparte y el monólogo. El aparte y su carácter de recurso (Según Patrice Pavis) [pág. 126-127] 5. 2. 7. Rasgos principales del monólogo interior, según Peter Szondi: tema y sentido del conjunto; el aparte y su violación de la dialogicidad; autonomía del aparte con respecto a la situación dramática y carácter íntimo; el aparte en Hebbel y su relación con el monólogo interior en la novela psicologista del siglo XX; el aparte como informe psicológico del yo épico [pág. 127-131] 5. 2. 7. 1. El monólogo temático en Chéjov [pág. 127-128] 5. 2. 7. 2. La función del aparte en Eugene O‟Neill [pág. 128-129] 5. 2. 7. 3. El para-sí hebbeliano [pág. 129-130] 5. 2. 7. 4. Hebbel, precursor del monólogo interior. Joyce y O‟Neill [pág. 130] 5. 2.
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