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“Lennox Robinson Y Los Orígenes Del Teatro De Crítica Social En Irlanda”

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“Lennox Robinson Y Los Orígenes Del Teatro De Crítica Social En Irlanda” TESIS DOCTORAL AÑO: 2015 “Lennox Robinson y los orígenes del teatro de crítica social en Irlanda” Autor: María Teresa Osuna Osuna Licenciada en Filología Inglesa UNED Departamento de Filologías Extranjeras y sus Lingüísticas Facultad de Filología Director: Dr. D. Ramón Sainero Sánchez Departamento de Filologías Extranjeras y sus Lingüísticas Facultad de Filología Tesis Doctoral “Lennox Robinson y los orígenes del teatro de crítica social en Irlanda” Autor: María Teresa Osuna Osuna Licenciada en Filología Inglesa Director: Dr. D. Ramón Sainero Sánchez Dedicatoria A mi familia por su gran paciencia en todo el tiempo de elaboración de esta investigación, pero, sobre todo, y muy especialmente, a mis padres, María del Carmen y Francisco, por su auténtico interés, comprensión y enorme sacrificio, así como apoyo y ánimo en todo momento. Y, muy particularmente, a Rafael, sin cuya continua entrega, apoyo, ayuda, colaboración, aliento y directrices, todas emprendidas con gran espíritu de generosidad y sacrificio, no habría sido posible esta ardua tarea de investigación. Mi más profundo agradecimiento a todos por estar siempre ahí, en las luces y en las sombras. 2 Agradecimientos En primer lugar, al Doctor D. Ramón Sainero Sánchez, Director de esta tesis, por su asesoramiento, sugerencias y consejos en la elaboración y resultado final de esta tesis. En segundo lugar, a las siguientes personas e instituciones por su generosa ayuda y colaboración, y por los permisos necesarios para la reproducción de las imágenes que se incluyen en la investigación: Yolanda Morcillo (Servicio de Información Bibliográfica y Referencia, Universidad Nacional de Educación a Distancia, UNED); Pauline Swords (Abbey Theatre Archives); Jane Gallagher (Special Collections & Archives, Information Services, University of Kent); Glenn Dunne (National Library of Ireland); y Catherine Fitzmaurice (Bandon Genealogy). Asimismo, pedimos disculpas porque en la reproducción de algunas imágenes no se ha podido localizar a los titulares de los derechos de autor. Y en tercer lugar, a nivel personal, a D. Rafael Jiménez Pascual, Subdirector de la Red de Bibliotecas de la Universidad Nebrija, documentalista y escritor. 3 Drama e ilustración La fuerza de su drama ilustra el mundo en esta tarde incierta de fantasmas; no ciega la razón de un tiempo en armas ni oculta su verdad en lo profundo. Oscura imagen vieja y descompuesta, xerografía impresa en un pasado reducto de otro espectro destronado: obtusa dramaturgia manifiesta. Busca él siempre en su contra una conciencia, impuesta entre mil voces animadas nacidas a un calor de resistencia. Son voces que despiertan a sus obras, opuestas a esas otras, derrotadas, no adscritas a este tiempo de zozobras. Rafael J. Pascual 4 Índice Agradecimientos 3 Índice 5 INTRODUCCIÓN 8 PRIMERA PARTE: MARCO TEÓRICO 19 CAPÍTULO 1: Irlanda a principios del siglo XX: el renacer de una identidad nacional 20 1.1. La sociedad irlandesa y los movimientos ideológicos 22 1.2. El nacionalismo lingüístico irlandés de Douglas Hyde 43 1.3. El movimiento dramático irlandés: Fundación del Abbey Theatre 53 1.4. Los hermanos Fay y el nuevo arte dramático experimental 67 PRIMERA PARTE: MARCO EMPÍRICO 87 1.5. Primeros dramas de crítica social 89 1.5.1. London Assurance, de Dion Boucicault 89 1.5.2. The Tale of a Town, de Edward Martyn 107 1.5.3. The Land, de Padraic Colum 121 CAPÍTULO 2: El realismo socio-crítico de Henrik Ibsen en Lennox Robinson y otros escritores irlandeses. 134 2.1. Henrik Ibsen y su influencia en el teatro irlandés: la nueva concepción del teatro moderno. 134 2.2. The Pillars of the Community, A Doll´s House, Ghosts y A Public Enemy 135 2.3. Henrik Ibsen y George Bernard Shaw: A Doll´s House, Ghosts, Mrs Warren´s Profession y Pygmalion. 161 2. 4. Henrik Ibsen y Lennox Robinson: Paralelismos y contrastes entre A Doll´s House y The Cross Roads. 191 5 SEGUNDA PARTE: MARCO TEÓRICO 215 CAPÍTULO 3: Lennox Robinson y su entorno familiar y social 218 3. 1. Infancia. Westgrove, Kinsale, Ballymoney 218 3.2. Primeras incursiones en la literatura. Contacto con la Abbey Theatre Company: aproximación a los dramas realistas. 235 3.3. Implicación social y división familiar: acercamiento literario al nacionalismo irlandés. 241 CAPÍTULO 4: Lennox Robinson y el Abbey Theatre 250 4.1. Primeros dramas realistas en el Abbey: The Clancy Name y The Cross Roads 250 4.2. Nuevas técnicas dramáticas como director del «Abbey Theatre»: renovación del estilo realista. 256 4.3. Giras con la compañía del «Abbey» por los Estados Unidos: Boston, Nueva York, Filadelfia y Chicago. 264 SEGUNDA PARTE: MARCO EMPÍRICO CAPÍTULO 5: Estudio de las obras de Lennox Robinson en el contexto social irlandés. 5.1. La cuestión nacionalista 271 5.1.1. Patriots 271 5.1.2. The Dreamers 278 5.1.3. The Lost Leader 284 5.1.4. Pasado, presente y futuro 289 5.2. El antagonismo de dos generaciones 290 5.2.1. Harvest 290 6 5.2.2. The White Blackbird 299 5.2.3. The Whiteheaded Boy 308 5.2.4. El destino de dos generaciones 315 5.3. El declive de una clase social: análisis sociológico 316 5.3.1. The Big House 317 5.3.2. Killycreggs in Twilight 323 5.3.3. La evolución en los individuos 328 5.4. El conflicto psicológico en la mujer 330 5.4.1. The Clancy Name 330 5.4.2. Crabbed Youth and Age 336 5.4.3. The Far-Off Hills 340 5.4.4. Influencia del código social sobre la mujer 345 5.5. Realidad frente a ficción 346 5.5.1. Church Street 347 5.5.2. The Round Table 350 5.5.3. El conflicto interno en el individuo 355 CAPÍTULO 6: Lennox Robinson visto por la crítica: valoración de sus dramas de crítica social. 357 CONCLUSIONES 367 BIBLIOGRAFÍA 373 7 INTRODUCCIÓN Podríamos pensar que toda crítica social lleva implícito un juicio, una reacción, positiva o negativa, consecuencia de un análisis de la sociedad, con la que iríamos en busca de una idea de la evolución y del crecimiento personal de sus miembros, que perseguirían configurar una nueva sociedad. El drama es el género literario que probablemente exponga de manera más cercana las problemáticas sociales y su repercusión en el individuo. Es por ello que, dentro del marco del teatro, pretendemos que nuestro trabajo gire en torno al dramaturgo Lennox Robinson y sus obras de crítica social como difusoras y contextualizadoras del comportamiento de los seres humanos dentro de su comunidad. Hacia estos dos protagonistas, la comunidad y los individuos que forman parte de ella, habríamos dirigido primordialmente la atención en nuestra investigación por la relevancia que consideramos adquieren en los dramas que Robinson compone bajo la perspectiva del realismo socio-crítico. Escritor polifacético con una extensa y enriquecedora trayectoria en el mundo del teatro como dramaturgo, actor, director, productor y miembro del comité directivo del Abbey Theatre, por esa simbiosis con su teatro y sus aportaciones al drama con sus obras de crítica social, podríamos pensar que Lennox Robinson ha sido, y es, una figura que ha marcado una impronta en la configuración pasada y futura del primer teatro nacional de Irlanda. El alcance de dicha impronta es lo que queremos averigüar con el papel que ejerce Robinson en el drama socio-crítico. A ello debemos añadir cómo, “apart from the sheer volume of his output and its high quality, Robinson had a knack for exploring new themes and in the end wrote many different types of drama, from peasant play to metadrama and from political play to social comedy and psychological drama” (Vormann, 2001, p. 9). 8 Los objetivos de esta tesis son analizar dichas obras en torno a distintos grupos temáticos en los cuales la sociedad y los individuos se convierten en figuras imprescindibles y necesarias dentro del contexto social; asimismo, exponemos el marco histórico que favorece la implantación de la corriente del realismo en Irlanda a comienzos del siglo XX, hasta explicar de qué modo Robinson se sitúa con sus dramas a la vanguardia de dicho movimiento. Emprendemos esta investigación centrada en la figura de Lennox Robinson como dramaturgo que podría haber estado un periodo de tiempo a la sombra de otros escritores contemporáneos que obtendrían mayor reconocimiento, como William Butler Yeats, Lady Gregory y John Myllington Synge. Nuestro interés, a modo particular, ha estado siempre relacionado con el género costumbrista y la crítica social. La lectura de los dramas sociales de Robinson nos ha abierto la puerta para investigar sobre este tema. Nuestra hipótesis de que el dramaturgo tiene o tuvo un papel destacado en el teatro de crítica social, dada la circunstancia opuesta del desconocimiento general actual sobre su figura y el protagonismo que en su día tuvo en el Abbey, se va a verificar al final. El núcleo de nuestro trabajo se centra en sus reconocidos como “social dramas” bajo aquellos aspectos que se materializan dentro de un contexto de crítica social. Son catorce obras de entre, aproximadamente, treinta que componen casi la totalidad de su producción dramática. Para haber sido un dramaturgo de enorme influjo e implicación en el teatro irlandés del siglo XX apenas encontramos dos publicaciones que se dediquen exclusivamente a un estudio extenso y en profundidad de su figura: la primera, de Michael J. O´Neill, Lennox Robinson (1964); la segunda, la tesis doctoral de Hartmut Vormann The Art of Lennox Robinson: Theoretical Premises and Theatrical Practice (2001). Esto respaldaría la presunción de que es un autor poco conocido. Existe una tercera, la introducción de Christopher Murray a la publicación Selected Plays of Lennox Robinson (1981), donde simplemente se hace una breve presentación biográfica de Lennox Robinson y de las obras 9 escogidas para el volumen en cuestión: Patriots, The Whiteheaded Boy, Crabbed Youth and Age, The Big House, Drama at Inish y Church Street.
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