University of Alberta Masks in Magic-Realist Chilean Drama: 1968-1 993 lvhn H. Jimhez Williams @ A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy Comparative Literature Department of Comparative Literature, Film, Religious and Media Studies Edmonton, Alberta Spring 1999 Nationa! Library Bibliothkque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliogtaphlc Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 OttawaON K1AON4 Canada Canada Your fib vmrbYfenca Our lSle Notre rslfdrenw The author has granted a non- L'auteur a accorde me licence non exclusive licence allowing the exclusive pennettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, preter, distribuer ou copies of this thesis in microform, vendre des copies de cette these sous paper or electronic formats. la fonne de microfiche/film, de reproduction sw papier ou sur format electronique. The author retains ownership of the L'auteur conserve k propriete du copyright in this thesis. Neither the droit d'auteur qui protege cette these. thesis nor substantial extracts &om it Ni la these ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent &re imprimes reproduced without the author's ou autrement reproduits sans son permission. autorisation. A// that is in the heart is written in the face. --African Proverb I dedicate this thesis to my parents, Guillermo Jimhez Espinosa and Maria Williams de Jimenez, as well as to my brother, Guillermo Jimenez Williams. Abstract of Thesis This study contributes to scholarship by analyzing syncretic and pre-Columbian plasticity as well as other forms of plasticity in Chilean magic-realist drama from 1968 to 1993. In order to understand the importance of masks in the magic-realist text, they are studied in terms of their thematic use and theatrical function. Through the use of literary and theatrical theories from a diversity of fields, literary texts, theatrical texts, films, visual arts and religious ceremonies are related to each other in order to better understand the role of the mask in magic-realist drama. An analysis of specific theatrical and dramatic works shows the relevance of the mask as an ideological means of communication. By examining the magic-realist dramatic text and i t s performance, this study enlarges the critical repertory of an area that has been overlooked in contemporary Latin American drama. The Chilean uses of masks are not only prominent and significant i n themselves, but are also an indicator of certain trends in Chilean and Latin American literature, theatre, and culture in general. In addition, masking and magic realism belong to a counter-hegemonic discourse that departs from realist and naturalist paradigms as well as questions the codes of postmodernism in their history of fragmentation and discontinuity. Since there are no in-depth studies about the development of the plastic element, in Latin American drama, this study redresses that lacuna by showing how masking in magic-realist drama supports a counter-hegemonic discourse that exists from the ti m e of the Spanish conquest. What a Western audience, in the use of a syncretic or pre-Columbian form of masking, may discard as exotic masking, actually has a thematic significance. This discussion o f plastic elements, masking and magic realism shows a distinct aesthetic and discursive development that belongs to the Kulturkampf of Chilean and, by extension, Latin American drama. Acknowledgement I wish to express my sincere gratitude to my thesis co-supervisors, Professor Milan Dimic in Comparative Literature and Professor Carl Hare in Drama, for their valuable criticism, patience and support. I would also like to thank the Departments of Comparative Literature, Modern Languages and Drama as well as the Faculty of Graduate Studies and Research for providing financial assistance during my doctoral programme. As well, I must thank the following people f o r their comments and technical support during the different phases o f this study: Dr. J.R. Varela, Dr. A.M. Forcadas, Dr. J. Villegas, Dr. F. Judson, Brenda Wegmann, Winston Mohabir, Alejandro Rosato, Orlando Rodriguez, Eleanor MacKay, Thomas Weltz, Kathleen MacDermott, Janet Ould, Jane Wilson, Linda Donnell y, Juan Espinaco Virseda, Pedro Rifo, Miguel Almeyda and Jose Antonio Venegas. TABLE OF CONTENTS Introduction 1 Notes 17 Chapter I. Chilean Drama and the Mask 2 1 for Cmter L 2 1 Pre-Calumbian nram 2 3 26 ~ulamticManifest- 30 rv l7evelopme~ 33 Twentiet h-Ce nturv DevelqprnenfS 36 veatprv of Pwcitv.. ~n. Ch IeanThgatre: 1968-1993 52 . Brief Accowt of the Mlective Creation AmimDrama 56 Co- Co- 58 Notes 59 Chapter )I. The Theory and Practice of Masking 6 9 6 9 . .* A Prellwrv Deflnmn of Mask 6 9 PmceText 83 thodoloaicales: Use and Meaniw of 9 1 A. Masks: Intention and Context 9 7 B. Mask Design: Archetypal and Symbolic Approach 106 111 Notes 112 CHAPTER Ill: Magic Realism and Masking 119 119 t~119 c Phenomerlpn 124 135 . Visual Properties of In Magic-Realist Dram 140 CorlGtUEiing Remark 151 Notes 152 Chapter IV--Analysis of Two Magic-Realist Texts: lsidora 157 A g uirre's L autaro and Rodrigo Marquet's Pedro Pdramo Brief discussion of the 157 Chapter IV (continued) lsidora Aguirre's Lautaro Ex~lanationof the Dramatic Text and Its Performance Storv. Plot and Staae Set stumes and Other Metonvmic Devices CuriAanculs A~~aritionand Shadow Masks Ceremonial Wooden Masks and the Mabuche Mvthical Structure Final Edsode and the Demaskina Effect Analysis of Marquet's Pedro PBramo. Ex~lanationof the Dramatic Text and Its Performan= Ghost. Death and Clown Masks Devil Double Mask l2Qluhh Om@& Makew and Kimono Outfit Thematic lrn~licationsof Masks in Pedro Pdramo Concludina Re marks Notes lsidora Aguirre's Lautaro Marquet's Pedro Pdramo. Chapter V--Conclusion List of Illustrations Bibliography Appendix A: Analysis of the Rabinal Achi and the Tragedia , del fin de A tawallpa Rabinal Achl or Baile del Tun traaedia del fin & A ta wall~a Notes Appendix 6: Some Features of the auto sacramental and analysis of El juicio final. arm Features of the Latin American auto sacramental Analvsis of El iuicio final Notes List of Illustrations Fig. 1 Gran Circo Teatrols Richard 11 231 Fig. 2 Teatro Q1s Gabriel Garcia Marquez 232 habla por nosotros Fig.3 Gran Circo Teatrots Pop01 Vuh 233 Fig. 4 Teatro Fin de SiglolsSantiago Bauhaus 234 Fig. 5 Teatro Provisorio% El suet70 de Clara 235 Fig. 6 Teatro Provisoriols El sueno de Clara 236 Fig. 7 Producciones Teatrales Chilenas s Lautaro 237 Fig. 8 Teatro La Loba's Pedro Pdramo 238 Fig. 9 Teatro La Lobats Pedro Paramo 239 Fig. 10 Teatro La Lobats Pedro Paramo 240 Fig. 11 Teatro La Loba1s Pedro Paramo 241 Introduction Masks as artifacts of drama are prevalent in Latin American folkloric and popular culture. These artifacts, which in many cases are syncretic forms of pre-Columbian and European or African cultures, survive today and have found many uses in popular theatre and in non-traditional professional and semi-professional theatre. Other sources of physical masking in Latin American professional theatre represent different styles and adaptations, filtered through Europe, of Far Eastern, Indian and Indonesian theatrical traditions. Since it is beyond the scope of this study to examine all Latin American drama, I will focus on the significance of masks in one Latin American country, namely Chile. I propose to study masks i n terms of their thematic use and theatrical function in Chilean magic-realist drama from 1968 to 1993 with the objective of examining how masking and magic realism are part of modern Chilean drama. Accordingly, this study will help enlarge the critical repertory of an area that has been overlooked, namely the uss of masks in the contemporary Latin American dramatic text and its performance. The Chilean use of masks is not only prominent and significant in itself, but is also an indicator of certain trends i n Chilean and Latin American literature, theatre, and culture i n gen era1 . A consideration of the relevant sources and theoretical influences inevitably involves a comparative approach, because t h e success of this inquiry also depends on acknowledging the function of masks in other theatrical traditions which have influenced Chilean practices. This approach will serve three purposes. First, i t will provide the study with a comparative perspective, placing the Chilean uses of masks within a world context. Secondly, it w i l l make clear that there is a corpus of literature that has examined the mask already and that modern scholarship has also begun to focus on this subject. Finally, it will make it possible to demonstrate the influence of other mask traditions on Chilean drama, particularly i n this century. 2 Masks multiply and modify the semiotic codes involved in the theatrical transposition and performances of such dramatic texts. Many Chilean and other Latin American contemporary plays use masks which revive echoes of pre-Columbian rituals, post-conquest Baroque theatre and other theatrical and dramatic traditions. This use of masks involves questions related to the theory of masks and usage of the plastic element in theatre in general. It also reflects on a Latin American cultural context, for it permits, at a time of state oppression and censorship, the suggestion of political messages which obliquely but strongly criticize prevailing social conditions. Finally, the theatre in question, with its use of masks, represents a cultural manifestation of Latin American magic realism. The topic and the particular mu lti-disciplinary and comparative perspective proposed here have not been fully explored before, especially with respect to the study of magic realism in the theatre and its possible link with the use of masks.