VISION PANORAMICA DEL TEATRO EN VENEZUELA Item Type text; Dissertation-Reproduction (electronic) Authors Sundberg, Sally Greymont Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 11/10/2021 05:06:06 Link to Item http://hdl.handle.net/10150/290469 INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. 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Bucks, England HP10 8HR 7*23776 SUNDBERG# SALLY GI?EYMONT VISION PANtiPAMICA DEI TLATRO EN VENEZUELA, (SPANISH TEXT) THE UNIVEHSITY OF ARIZONA, PH.D., 1976 University Microfilms International soon ziebhoao, ann ahdor.mmhiog © 1978 SALLY GREYMONT SUNDBERG ALL RIGHTS RESERVED VISION PANORAMICA DEL TEATRO EN VENEZUELA by Sally Greymont Sundberg Dissertation Submitted to the Faculty of the DEPARTMENT OF ROMANCE LANGUAGES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN SPANISH In the Graduate College THE UNIVERSITY OF ARIZONA 19 7 8 Copyright 1978 Sally Greymont Sundberg THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE I hereby reconxnend that this dissertation prepared under my direction by Sally Greymont Sundberg entitled Vision panoramica del teatro en Venezuela be accepted as fulfilling the dissertation requirement for the degree of Doctor of Philosophy v. May git, 1978 Dissertation Director Date As members of the Final Examination Committee, we certify that we have read this dissertation and agree that it may be presented for final defense. CzC. ^ fthu-/ /f '7y Final approval and acceptance of this dissertation is contingent on the candidate's adequate performance and defense thereof at the final oral examination. STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library, Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduc­ tion of this manuscript in whole or in part may be granted by the copyright holder. SIGNED . fWlj/ •uflfiwLvo RECONOCIMIENTOS Aprovecho esta oportunidad para extender mi infinito agrade- cimiento al Dr. Renato Rosaldo por su esmerada direccion, por sus indicaciones precisas y por sus correcciones estilisticas. Asimismo, agradezco al Dr. Jack Davis y a la Dra. Eliana Rivero el haberme ofrecido valiosas correcciones de contenido y estilo y por su fino sentido critico. A todos les agradezco mucho su paciencia con la lectura de este texto sumamente largo y su apoyo durante el extendido periodo de su preparacion- Ademas, quiero reconocer a todos los miembros de la facultad de Lenguas Romances de la Universidad de Arizona por los consejos y--la amistad que me ofrecieron durante los aiios que pase entre ellos. Siempre los he de recordar con gratos recuerdos. Tambien, he de reconocer a todos mis amigos, mis padres, mi esposo y hasta a mis alumnos por la gran paciencia con que me trataron durante la preparacion de este texto. iii TABLA DE MATERIAS Pagina ABSTRACT vii CAPITULO 1. ANTEMURAL 1 2. RAICES DEL TEATRO EN VENEZUELA: EPOCA PRIMITIVA 10 Teatro Amerindio Precolombino 12 Teatro Amerindio Venezolano 15 Teatro Afro-Venezolano 21 Teatro Hispano 28 Teatro Venezolano 30 3. EL TEATRO HISPANO-VENEZOLANO: EPOCA COLONIAL {1498-1810} 32 Teatro Virreinal 35 Desarrollo del Teatro Colonial ....... 42 Polemicas Teatrales 48 El Teatro en la Provincia y el Teatro Popular .... 54 La Era de Los Coliseos 58 Teatro Colonial (1498-1810) 72 4. TEATRO DE INTEGRACION NACIONAL [1810-1900) 74 Venezuela Republicana (1810-1830) 75 Venezuela Democratica (1830-1847) ..... 86 Venezuela: Comienzo de las Dictaduras (1848-1870) . 100 Venezuela Guzmanista (1870-1887) 115 Venezuela Finisecular (1888-1900) 129 Teatro Independiente 136 5. LITERATURA DRAMATICA VENEZOLANA (SIGLO XIX) 138 Desarrollo de la Literatura Dramatica Venezoiana . 142 Dramaturgia del Siglo XIX (1810-1899) 145 El Teatro Nacional 169 iv V TABLA DE MATERIAS—Continuada Pagina 6. TEATRO CRIOLLO: 1900-1950 172 Venezuela: La Epoca de Cipriano Castro (1899-1909) . 175 Venezuela: La Epoca de Juan Vicente Gomez (1909-1935) 183 Venezuela: El Despertar Colectivo (1936-1944) .... 208 Venezuela: Preludio al Periodo Contemporaneo (1945-1950) 216 7. LITERATURA DRAMATICA VENEZOLANA, PRIMERA MITAD DEL SIGLO XX: 1900-1950 232 El Teatro Criollo (Criollismo—ler Ciclo) 235 Autores y Obras (ler Ciclo) 241 Teatro Para Leer 263 Criollismo 266 El Teatro Nacional y Tendencias Universales (Criollismo—2° Ciclo) 269 Autores y Obras (2° Ciclo) 273 Nacionalismo y Universalismo 284 8. TEATRO CONTEMPORANEO: 1951-1976 287 Epoca de Formacion del Teatro Contemporaneo (1951-1958) 291 Apogeo del Teatro Nacional Contemporaneo (1959-1969) 311 Tendencias en el Teatro Actual (1970-1976) 3 42 9. LITERATURA DRAMATICA VENEZOLANA EPOCA CONTEMPORANEA (1950-1975) 349 Epoca Transicional (la Decada de los 50) 352 Teatro de Problematica Universal 354 Teatro de ProblemStica Nacional 364 Teatro Nacional y Universal 385 Epoca Experimental (la Decada de los 60) 3 85 Autores y Obras 389 Teatro de Biasqueda 412 Epoca Actual (la Decada de los 70) ..... 414 Autores y Obras 415 Teatro de Protesta 425 Teatro Popular 427 Teatro Contemporaneo 431 vi TABLA DE MATERIAS—Continuada Pagina 10. SINTESIS HISTORICA 433 BIBLIOGRAFIA SELECTA 441 ABSTRACT The theater, throughout its history in Venezuela, has always been linked to the nation sociologically, politically, and economically. Thus, it has always been a social theater. Although various studies of the history of the theater in Venezuela have appeared since the end of the nineteenth century, none has presented a detailed chronology from the beginning to the present. Also, many of these studies lack historic evidence, exactness, and precision. In addition, the majority only exist in sources difficult to obtain. This present text is a chronological history of the theater in Venezuela treated both as literary forms and movements and as an insti­ tution of production and training, and always, as a reflection of the nation. Also, simultaneously, eirphasis is placed on the development of a national dramatic form showing its link to the formation of Venezuela in works reflecting national growth and problems. The text clarifies each stage of development and verifies or refutes information presented in the earlier partial studies. The principal chapters deal with the primitive roots, the colony, the nineteenth century, the early twentieth century, and the contemporary theater. Discussion of literary movements, style, and authors and their works is included for the nineteenth and twentieth centuries. In addition, there is an examination of folk and popular vii viii theater. Throughout, there is an emphasis on amassing a detailed working, bibliography to aid future research. The primitive roots are threefold: the proto-theater of the indigenous peoples, the theatrical forms imported with the African slaves, and the theater of the Spanish colonists. Although the latter exercised the major influence following the conquest, the other forms survive in folk and popular theater as well as in the themes of some contemporary dramas. During the Colonial Period theater served both social and political functions: it relieved the boredom of life in an isolated capital, and also celebrated colonial events as early as shortly after the foundation of Caracas. The works, of Spanish origin, were presented by amateurs on temporary stages in the patios of homes and in public plazas. Although the theater does not appear to have had as extensive a use in the Venezuelan missions as it did in other colonies, the church and state debated repeatedly about which would exercise the control and censorship of the theater. The first permanent theater was not constructed in Caracas until the second half of the eighteenth century, at which time produc­ tions increased greatly.