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Cecilia Carriquiry.Pdf Universidad de la República. Facultad de Humanidades y Ciencias de la Educación. Unidad de Posgrados. Maestría en Teoría e Historia del Teatro. Tesis para defender el título de: Magister en Teoría e Historia del Teatro. Título: Poéticas de murga uruguaya: tradición, profesionalismo y rupturas. Estudio comparado temático-formal de cuatro casos entre 2005 y 2010. Maestranda: Cecilia Carriquiry. Directora de tesis: Dra. Claudia Pérez. Montevideo, octubre de 2017. Montevideo, 22 de setiembre de 2017 Facultad de Humanidades y Ciencias de la Educación (UdelaR) Comisión Académica de Posgrados. Por la presente doy mi aval, como tutora, a la presentación de la Tesis de la maestranda Cecilia Carriquiry, para defender el título de Magister en Teoría e Historia del Teatro. La Tesis se titula Poéticas de murga uruguaya: tradición, profesionalismo y rupturas. Estudio comparado temático-formal de cuatro casos entre 2005 y 2010. Considero que cumple ya los requerimientos académicos para ser presentada. Saludo a uds. atentamente Dra. Claudia Pérez Prof. Adj. Del Depto. De Teoría y Metodología Literarias. II Dedicatoria. Quiero agradecer muy especialmente a aquellos carnavaleros amigos que me acompañaron en este trabajo con el aporte de su memoria, de sus libros, de sus habilidades y del conocimiento particular de esta gran red creativa, afectiva y laboral que es el Carnaval uruguayo, a ellos mis abrazos: Horacio Pezaroglo, Martín Sacco, Milita Alfaro, Federico Silva. A los docentes que guiaron este proceso, Claudia Pérez, Gustavo Remedi, Roger Mirza. A los carnavaleros que me aportaron con sus respuestas y sugerencias, Gustavo Cabrera, Rafael Antognazza, Guillermo Lamolle, Ignacio Alonso. A quienes también acompañaron y contribuyeron en este proceso, Natalia Sales, José Gabriel Trápani, Juan Pedro Carriquiry. A mis padres Javier y Laura. Muchas gracias. Cecilia. III Índice. 1. Resumen, introducción...............................................................................1 1.1. Objeto de estudio y objetivos.....................................................................12 1.2. Planteamiento del problema.......................................................................14 1. 3. Criterios del universo seleccionado.............................................................24 1.4. Antecedentes, breve historización y marco teórico...........................................32 2. Descripción, métodos analíticos..................................................................47 2.1. El Carnaval en la actualidad.......................................................................47 2.2. La semiosis del espectáculo.......................................................................71 2.3. El estudio comparado...............................................................................81 3. Poéticas comparadas Agárrate Catalina versus La gran siete.........................95 3.1. Contexto histórico local año 2005..............................................................95 3.2. Características de Murga La gran siete........................................................97 3.3. La gran siete 2005. Rasgos generales de la poética y su análisis desglosado........................................99 3.4. Características de Murga Agarrate Catalina................................................127 3.5. Agarrate Catalina 2005. Rasgos generales de la poética y su análisis desglosado........................................127 4. Poéticas comparadas A contramano versus La mojigata...............................147 4.1. Contexto histórico local año 2010.............................................................147 4.2. Características de Murga Acontramano.......................................................148 IV 4.3. AContramano2010. Rasgos generales de la poética y su análisis desglosado.................................151 4.4. Características de Murga La mojigata..................................................173 4.5. La Mojigata 2010. Rasgos generales de la poética y su análisis desglosado...............................175 5. Conclusiones..................................................................................199 6. Bibliografía...................................................................................206 7. Anexos...........................................................................................210 7.1. Fallos del Carnaval 2005 y 2010.......................................................210 7.2. Tablados del Carnaval 2005 y 2010....................................................213 7.3. Fichas técnicas de las 4 Murgas.........................................................218 7.4. Entrevistas a murguistas...................................................................224 7.5. Letras de los 4 espectáculos..............................................................243 V Resumen. El siguiente trabajo de tesis está compuesto por el estudio de la Murga como género teatral, muy arraigado en la cultura popular del Uruguay y de Montevideo particularmente. El Carnaval es la fiesta popular más larga del Uruguay, en donde año a año los conjuntos participantes renuevan sus propuestas artísticas, generando en cada instancia una nueva partitura escénica, estética y discursiva. Dicho concurso se realiza en la ciudad de Montevideo y tiene como escenario oficial (tablado) el Teatro de verano Ramón Collazo. Se inicia en noviembre (pruebas), y el trabajo continúa hasta marzo del siguiente año. Luego del desfile oficial en el mes de enero, los conjuntos participantes recorren los diversos tablados ubicados en todo el departamento de Montevideo y en algunos otros departamentos como Canelones y Maldonado. En el mismo participan: Comparsas de negros y lúbolos, Parodistas, Murgas, Revistas y Humoristas. Particularmente nos vamos a centrar, en el estudio comparado de las poéticas de cuatro espectáculos de Murga, desarrollados dentro del concurso oficial de agrupaciones carnavalescas. Los espectáculos seleccionados para el estudio son Agárrate Catalina y La gran siete año 2005; y Acontramano y La mojigata año 2010. El tema propuesto refiere al estudio del vínculo de estos espectáculos con los conceptos de tradición, profesionalismo y ruptura; intentando dilucidar los diversos estilos que se manifiestan dentro del género Murga, y los enlaces y quiebres por ellos generados, visualizando la resignificación de las concepciones de tradición, y el enfoque que al respecto, cada nueva poética propone desde su construcción artística. La metodología empleada consiste en el análisis de los espectáculos con base en los videos bajados de la web, los guiones, y entrevistas a algunos de los murguistas involucrados. Específicamente se analiza la poética de cada composición en relación a la música, la letra, la expresión corporal y el vestuario, situando el estudio dentro de marcos territoriales comprendidos en un - 1 - macrosistema y en un microsistema, de donde a su vez se desprenden la macropoética y la micropoética, de modo vinculante con los conceptos de campo cultural, habitus, hibridación, e industrias culturales; así como el enlace de estos con las diversas concepciones de tradición, profesionalismo y ruptura. - 2 - Summary. The following thesis consists of the study of Murga as a theatrical genre deeply rooted in the popular culture of Uruguay and, particularly Montevideo. Carnival is the longest popular festival of Uruguay, where every year the participating groups renew their artistic proposals, generating in each instance a new score, aesthetic and discourse. Said competition is held in the city of Montevideo, and the Teatro de verano Ramón Collazo is the official stage (tablado). Starts in November (auditions) and continues until March of the following year. After the official parade in January, the participating groups perform in various tablados located all across Montevideo Department and in some other departments as Canelones and Maldonado. The participants of this competition are: comparsas, parodists, murgas, revistas and humorists. We are going to focus particularly in the comparative study of the poetics of four shows of Murga, performed within the official competition of carnival groups. The shows chosen for the study are Agárrate Catalina and La gran siete year 2005; and Acontramano and La mojigata year 2010. The proposed theme refers to the study of the link between these shows and the concepts of tradition, professionalism and rupture; trying to explain the various styles that manifest within the Murga genre, and the bonds and breakdowns generated by them. We visualize the redefinition of the conceptions of tradition and the approach that, in this regard, each new poetics proposes based on its artistic development. The methodology employed consists of the analysis of the shows based on the videos downloaded from the web, the scripts and interviews to some of the murguistas involved. We specifically analyze the poetics of each composition in relation with the music, lyrics, body expression and wardrobe. The study is located within territorial frames included in a macrosystem and a microsystem, from which, in turn, the macropoetics and micropoetics are inferred, linked to the - 3 - concepts of cultural field, habitus, hybridization and cultural industries; as well as their link to the various conceptions of tradition, professionalism and rupture. - 4 - 1. Introducción. El estudio que he propuesto desarrollar como trabajo de tesis, comprende el fenómeno del teatro del Carnaval,1 enmarcado dentro del desarrollo
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