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De Rodolfo Usigli Una pieza a tientas: “4 chemins 4” de Rodolfo Usigli CITRU Una pieza a tientas: “4 chemins 4” de Rodolfo Usigli Edición de Ramón Layera y Octavio Rivera Krakowska Diseño de la colección Coordinación de Publicaciones del INBA Director de arte Enrique Hernández Nava Portada y formación Pablo Ramírez Reyes Corrección Javier Delgado Solís Material fotográfico cortesía de: The Walter Havighurst Special Collections Library, Miami University, Oxford, Ohio. Selección de fotografías: Jim Bricker Directora del archivo: Janet H. Stuckey Una pieza a tientas: “4 chemins 4” de Rodolfo Usigli © Rodolfo Usigli. Edición de Ramón Layera y Octavio Rivera Krakowska Primera edición: 2011 D. R. © Instituto Nacional de Bellas Artes y Literatura Reforma y Campo Marte s/n. Col. Chapultepec Polanco Del. Miguel Hidalgo C. P. 11560 México, D. F. ISBN: 978-607-605-065-1 Todos los derechos reservados. Queda prohibida la reproducción parcial o total de esta obra por cualquier medio o procedimiento, comprendidos la reprografía y el tratamiento informático, la fotocopia o la grabación sin la previa autorización por escrito del Instituto Nacional de Bellas Artes y Literatura. Impreso en México / Printed in Mexico Índice Presentación ...................................................... IX «4 chemins 4» de Rodolfo Usigli. Introducción crítica. Ramón Layera y Octavio Rivera Krakowska . XIII Sinopsis ...................................................... LXXIII «4 chemins 4» ..................................................... 1 «4 caminos 4» ...................................................... 73 «4 roads 4» ...................................................... 135 La vía Nicole Usigli ..................................................... 197 Usigli, teórico del teatro Daniel Meyran ................................................... 201 Archivos y fotografías ........................................... 221 Presentación La idea de darle mayor difusión a 4 chemins 4 germinó simultánea e indepen- dientemente en nuestra imaginación a medida que avanzábamos en nuestra carrera como estudiosos de la obra dramática de Usigli. Ambos sabíamos que su inclusión, en francés, en el primer tomo de sus obras completas en 1963 la había relegado al estrecho y esotérico ámbito de las curiosidades bibliográficas. Todos sabíamos de la existencia de esta pieza escrita en fran- cés pero nadie la leía. La opción de traducirla al inglés, para darla a conocer en el mundo de habla inglesa, se discutió en un seminario de posgrado sobre el teatro mexicano moderno que Layera ofreció hace un tiempo en Miami University. Andrew («Drew») Barnes, uno de los alumnos graduados que cursó el seminario, se interesó en esa posibilidad. Eso no resolvía el proble- ma mayor de cómo hacerla accesible al público lector de habla hispana y, más importante aún, al público lector mexicano. La oportunidad se presentó cuando nos conocimos personalmente en el «XI Encuentro Internacional de la Asociación Mexicana de Investigación Teatral (AMIT)», en Mérida en 2004, y discutimos la idea de hacer una edición trilingüe de 4 chemins 4. La idea pasó de lo abstracto a lo concreto, en 2005, cuando Octavio viajó a Oxford, Ohio, para trabajar en el Archivo Rodolfo Usigli de Miami Uni- versity en representación del, entonces, Centro Nacional de Información y Promoción de la Literatura del Instituto Nacional de Bellas Artes y del Centro Nacional de Investigación Teatral Rodolfo Usigli (CITRU). Durante esa intensa semana de trabajo, Octavio colaboró con el personal de la biblio- teca en la selección de materiales que se iban a emplear en la exposición que se hizo ese año, en el Palacio de Bellas Artes, con motivo de la celebración del centenario del natalicio de Rodolfo Usigli; entonces tomamos decisio- nes sobre la naturaleza y los detalles del proyecto de la versión trilingüe. Entretanto, Ramón había persuadido a Marylène Lux de que hiciera la tra- X PRESENTACIÓN ducción de 4 chemins 4 al español, y a Drew Barnes que lo hiciera al inglés. Marylène, luxemburguesa hablante nativa del francés, y Drew, anglohablante con extensa residencia en Chile y España habían completado su maestría en español y tenían amplio conocimiento del teatro mexicano y de la obra de Usigli. Eran las personas indicadas para colaborar con nosotros. El ímpetu final lo dio Rodolfo Obregón, director del CITRU, quien, en 2008, realizó una visita de trabajo al Archivo Rodolfo Usigli en Oxford, y quien ofreció apoyo institucional al proyecto editorial, hizo puntuales sugerencias y colaboró en la selección de materiales documentales para la edición trilingüe. Una vez realizada la tarea preliminar de traducción al in- glés, Ramón se responsabilizó de pulir la versión definitiva. En el caso de la traducción al español, la versión definitiva no hubiera llegado a buen término sin la sabia, cordial y entusiasta colaboración de la maestra Ma. Guadalupe Barajas quien refinó, con Octavio, la versión al español y preparó las notas. Este proyecto se ha beneficiado de la ayuda y el apoyo de varias personas e instituciones de Europa, los Estados Unidos y México. Vayan nuestros más sinceros agradecimientos a Marlylène Lux, Drew Barnes y al Departamento de Español y Portugués de Miami University y, en México, a la maestra Ma. Guadalupe Barajas; también al personal de la Havighurst Special Collections Library de Miami University donde se aloja el Archivo Rodolfo Usigli, en especial a su directora Janet H. Stuckey y a su bibliotecario y archivista Jim Bricker, quienes identificaron, reprodujeron y prepararon los materiales documentales que acompañan esta edición. Agradecemos al Fondo de Cultura Económica la autorización para incluir la versión francesa original de 4 chemins 4. Merecen un agradecimiento especial el doctor Daniel Meyran quien desde Perpignan, Francia, y Nicole Usigli (Carolina Cordelia en la dedicatoria de Usigli en el primer tomo de su teatro completo), desde Londres, Gran Bretaña extendieron su amable, y entrañable, colaboración con sus ensayos. Con Rodolfo Obregón tenemos una deuda mayor, fue él quien nos inspiró y guió al correr de los años. Sin duda, su leal compromiso con nuestro proyecto y su visionaria decisión de añadir la publicación de este libro a los festejos conmemorativos del trigésimo aniversario, en 2011, de la creación del CITRU hicieron que este proyecto fuera por fin una completa y feliz realidad. PRESENTACIÓN XI Deseamos que la accesibilidad de esta pieza para el público lector hispano y anglohablante no sólo sea útil para iluminar una faceta nueva en el perfil literario de Rodolfo Usigli, sino que también contribuya a una mayor com- prensión del entorno socio-histórico que la produjo. Ramón Layera y Octavio Rivera Krakowska «4 chemins 4» de Rodolfo Usigli. Introducción crítica Ramón Layera y Octavio Rivera Krakowska I. Dimensión literaria 4 chemins 4 es un texto usigliano relativamente desconocido aunque ha sido oficialmente aceptado, por el mismo Usigli, como parte integral de su obra completa. Usigli empezó a escribir esta obra, probablemente en 1928 y la terminó en 1932.1 Es una comedia que se publicó en 1963, como parte del primer volumen de su obra teatral completa. Sin duda, por el hecho de estar escrita en francés, la pieza ha sido ignorada hasta ahora tanto por el público general como por la crítica especializada. En razón de esta prolongada aun- que involuntaria omisión corresponde, entonces, empezar por preguntarse ¿en qué etapa de su carrera artística, Usigli concibió este texto?, ¿qué razón tuvo para escribir una obra dramática en una lengua extranjera?, ¿por qué la escribió en francés y no en inglés, otra lengua que Usigli dominaba tan bien como el francés?, ¿fue ventajosa o desventajosa su decisión?, ¿qué lugar le corresponde a este texto en el corpus total de la obra usigliana? En las notas introductorias que acompañan sus primeras obras dramá- ticas, Usigli explica que su afinidad por la lengua y la cultura francesas co- menzó en su niñez gracias al ejemplo de su madre. Es más, el dramaturgo aclara que esa afinidad afectó la naturaleza de sus opciones vocacionales y estéticas. Al igual que muchos de los intelectuales y artistas latinoameri- canos de fines del sigloXIX y comienzos del XX, acusados de padecer de «galicismo mental» y de vivir bajo la influencia esclavizante de la cultura francesa, Usigli cuenta que, « […] todos los adolescentes de mi generación nos derretíamos por ir a la ciudad Luz».2 Añade que sus años de aprendizaje 1 En el original del texto escrito a máquina, bajo el título, aparecen los años 1929 y 1932. 2 Rodolfo Usigli, Teatro completo. III, Fondo de Cultura Económica, México, 1979, p. 289. XIV INTRODUCCIÓN CRÍTICA de la lengua francesa en la Alianza Francesa y su obsesiva dedicación a la lectura de literatura en francés lo hicieron caer bajo el influjo irresistible de lo que Arthur Koestler había denominado «la influenza francesa».3 En efecto, antes de cumplir la mayoría de edad, Usigli había decidido que el francés sería « […] la lengua predilecta de fuga fuera de la incomprensiva realidad que me rodeaba».4 Existe, además, otra explicación igualmente plau- sible para su decisión de expresarse en francés y ésta es de índole cultural. Comenzaba ya el auge de la penetración económica y cultural de los Estados Unidos, según Usigli, debido a la ocupación militar de Veracruz y el auge de la explotación del petróleo en la zona del golfo. Expresarse en francés, a pesar de la intensa competencia del inglés y de la cultura norteamericana, representaba una declaración de independencia cultural y
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