Publication: Teatro bíblico cubano (1835-2015)
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2017-11-14
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Universidad Complutense de Madrid
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Abstract
La presente investigación se ocupa de definir un concepto amplio de teatro bíblico, que trascienda lo «ortodoxo» y lo medieval. Este concepto solo puede comprenderse desde la teoría de la intertextualidad: el término teatro o drama bíblico (Biblischen Drama, Bibeldrama, biblical drama, dramaty biblijne, drames bibliques, , dramma biblico, teatre bíblic) se refiere a la relectura del mito, es un teatro intertextual. Personajes, temas, motivos y argumento proceden del pre-texto (texto de partida/ de origen, en el sentido de Pfister, Plett y Zumthor). Toma la Biblia no como una cita causal, sino como el intertexto central que irradia nuevas y antiguas lecturas e interpretaciones. Actualiza, connaturaliza y propone una lectura bajtiniana y polifónica de la historia, la caracterización de los personajes. La Biblia en el teatro es un pretexto para hablar de la realidad o viceversa. Después de definir el concepto, este trabajo se encarga de estudiar los derroteros del drama bíblico en Cuba desde el origen del teatro cubano hasta hoy. Se traza un itinerario desde Gertrudis Gómez de Avellaneda hasta los novísimos dramaturgos del siglo XXI. Se estudia el comportamiento del tema bíblico a partir de 1959 en relación con los presupuestos estético-ideológicos de la Revolución que se confesó atea y que silenció las voces religiosas. En este contexto se comprende que el teatro bíblico aparezca vinculado a necesidades revolucionarias como la crítica a la guerra de Vietnam, a la bomba atómica, a la moral capitalista y al fanatismo religioso. Luego, durante más de diez años desaparecerá el drama bíblico de la escena nacional (desde principios de los setenta hasta la década del noventa). Y a partir de 1998, con cierta apertura política, económica y religiosa que tiene lugar en el país, regresa el teatro bíblico ya sin las ataduras y los preceptivos del proceso histórico. En apenas diez años se publican siete obras bíblicas —cifra significativa si se repara en el silencio de casi veinte años que le precede— que continúan la tradición anterior a 1959.
This research addresses a broad concept of biblical drama that transcends orthodox and medieval ideas. This concept can only be understood through the theory of intertextuality. The term theater or biblical drama (Biblischen Drama, Bibeldrama, biblical drama, dramaty biblijne, drames bibliques, théâtre biblique, dramma biblico, teatre bíblic) refers to the rereading of the myth. It is an intertextual theater. Characters, themes, motifs and plot are from the pre-text (source text as per Pfister, Plett and Zumthor). It interprets the Bible not as a causal event, but as the central intertext that illuminates old and new readings and interpretations. It updates and proposes a Bakhtinian and polyphonic reading of history and of its characters. The Bible within theater is a pretext to discuss reality or vice versa. After defining the concept, this work is responsible for studying the paths of the biblical drama in Cuban theater since its beginning until today. The history is traced from Gertrudis Gómez de Avellaneda to los novísimos dramaturgos of the 21st century. The role of the biblical theme is studied from 1959 in relation to the aestheticideological assumptions of the Revolution that professed atheism and silenced religious voices. In this context it is understood that the biblical drama appears to be linked to revolutionary needs such as criticism of the Vietnam War, the atomic bomb, moral capitalism and religious fanaticism. Then, for more than ten years, the biblical drama will disappear from the national scene (from the early seventies to the nineties). And from 1998, with certain political, economic and religious openings that take place in the country, biblical theater returns without the shackles of the historic development. In just ten years seven biblical plays are published —a significant number in comparison to the silence of the preceding twenty years—. These plays continue the tradition before 1959.
This research addresses a broad concept of biblical drama that transcends orthodox and medieval ideas. This concept can only be understood through the theory of intertextuality. The term theater or biblical drama (Biblischen Drama, Bibeldrama, biblical drama, dramaty biblijne, drames bibliques, théâtre biblique, dramma biblico, teatre bíblic) refers to the rereading of the myth. It is an intertextual theater. Characters, themes, motifs and plot are from the pre-text (source text as per Pfister, Plett and Zumthor). It interprets the Bible not as a causal event, but as the central intertext that illuminates old and new readings and interpretations. It updates and proposes a Bakhtinian and polyphonic reading of history and of its characters. The Bible within theater is a pretext to discuss reality or vice versa. After defining the concept, this work is responsible for studying the paths of the biblical drama in Cuban theater since its beginning until today. The history is traced from Gertrudis Gómez de Avellaneda to los novísimos dramaturgos of the 21st century. The role of the biblical theme is studied from 1959 in relation to the aestheticideological assumptions of the Revolution that professed atheism and silenced religious voices. In this context it is understood that the biblical drama appears to be linked to revolutionary needs such as criticism of the Vietnam War, the atomic bomb, moral capitalism and religious fanaticism. Then, for more than ten years, the biblical drama will disappear from the national scene (from the early seventies to the nineties). And from 1998, with certain political, economic and religious openings that take place in the country, biblical theater returns without the shackles of the historic development. In just ten years seven biblical plays are published —a significant number in comparison to the silence of the preceding twenty years—. These plays continue the tradition before 1959.
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Filología, Departamento de Filología Española II, leída el 01-12-2016