TEMA 15. LAS VANGUARDIAS (LA VANGUARDIA FRANCESA: JARRY, COPEAU, ARTAUD. LA VANGUARDIA ITALIANA: EL FUTURISMO)
En clase leemos ésta carta:
Letter from Alfred Jarry to
Aurélien Marie Lugné-Poe,
Director of the
Théâtre de l’ Oeuvre
8 January 1896
Dear Sir,
I am writing to ask you to give some thought to a project which I would like to submit to you and which I hope may interest you….It would be interesting, I think, to produce [Ubu Roi] (at no cost, incidentally) in the following manner:
1) Mask for the principal character, Ubu; I could get this for you, if necessary. And, in any case, I believe that you yourself have been studying the whole question of masks in the theater.
2) A cardboard horse’s head which he would hang round his neck, as they did on the medieval English stage, for the only two equestrian scenes; all these details fit in with the mood of the play, since my intention was, in any case, to write a “Guignol.”
3) One single stage-set or, better still, a plain backdrop, thus avoiding the raising and dropping of the curtain…. A formally dressed individual would walk on stage, just as he does in puppet shows, and hang up a placard indicating where the next scene takes place. (By the way, I am absolutely convinced that a descriptive placard has far more “suggestive” power than any stage scenery. No scenery, no array of walkers-on could really evoke “the Polish Army marching across the Ukraine.”)
4) The abolition of crowds which usually put on a terrible collective performance and are an insult to the intelligence. So, just a single soldier in the army parade scene, and just one in the scuffle when Ubu says, “What a slaughter, what a mob, etc....”
5) Choice of a special “accent,” or, better still, a special “voice” for the principal character.
6) Costumes divorced as far as possible from local color or chronology (which will thus help to give the impression of something eternal): modern costumes, preferably, since the satire is modern, and shoddy ones, too, to make the play even more wretched and horrible.
… Finally, I have not forgotten that this is no more than a suggestion for you to ponder at your leisure, and I have only discussed Ubu Roi with you because it has the advantage of being the sort of play that most of the public will appreciate. Anyway, the other thing I am working on will soon be ready, and you will see how much better it is…
With best wishes for all your good work, which gave me the chance of enjoying yet another highly interesting evening yesterday.
Dear Sir,
I am writing to ask you to give some thought to a project which I would like to submit to you and which I hope may interest you….It would be interesting, I think, to produce [Ubu Roi] (at no cost, incidentally) in the following manner:
1) Mask for the principal character, Ubu; I could get this for you, if necessary. And, in any case, I believe that you yourself have been studying the whole question of masks in the theater.
2) A cardboard horse’s head which he would hang round his neck, as they did on the medieval English stage, for the only two equestrian scenes; all these details fit in with the mood of the play, since my intention was, in any case, to write a “Guignol.”
3) One single stage-set or, better still, a plain backdrop, thus avoiding the raising and dropping of the curtain…. A formally dressed individual would walk on stage, just as he does in puppet shows, and hang up a placard indicating where the next scene takes place. (By the way, I am absolutely convinced that a descriptive placard has far more “suggestive” power than any stage scenery. No scenery, no array of walkers-on could really evoke “the Polish Army marching across the Ukraine.”)
4) The abolition of crowds which usually put on a terrible collective performance and are an insult to the intelligence. So, just a single soldier in the army parade scene, and just one in the scuffle when Ubu says, “What a slaughter, what a mob, etc....”
5) Choice of a special “accent,” or, better still, a special “voice” for the principal character.
6) Costumes divorced as far as possible from local color or chronology (which will thus help to give the impression of something eternal): modern costumes, preferably, since the satire is modern, and shoddy ones, too, to make the play even more wretched and horrible.
… Finally, I have not forgotten that this is no more than a suggestion for you to ponder at your leisure, and I have only discussed Ubu Roi with you because it has the advantage of being the sort of play that most of the public will appreciate. Anyway, the other thing I am working on will soon be ready, and you will see how much better it is…
With best wishes for all your good work, which gave me the chance of enjoying yet another highly interesting evening yesterday.
ALFRED JARRY,
162, boulevard St.-Germain.
162, boulevard St.-Germain.
Cuando Alfred Jarry estrena Ubú Rey aún no ha nacido el Teatro del Arte de Moscú. Por entonces triunfa el gran teatro burgués.
Ubú Rey inserto en el contexto en que aparece es una gamberrada, un acto bandálico contra un profesor. Es una sátira de Macbeth. Ubú, huye de la corriente realista y natrualista que domina el teatro de su tiempo. "La rama que representa al bosque" es el planteamiento simbolista.
El efecto inmediato de esta obra fue romper toda relación entre Antoine y el simbolismo.
Yeats después de estar presente en la representación escribió: "después de ésto, un dios salvaje"
Ubú Rey es el antecedente de todas las vanguardias. Marinetti también estuvo presente en la represetnación.
Patafísica: patología de la física.
Las primeras vanguardias, denominadas vanguardias históricas fueron de 1909-1939
La Belle Époque (1870-1914) fue una época bella para quienes les iba bien, es una época sin guerras en Europa.
El primer movimiento plenamente de vanguardia es el futurismo. El cubismo es unos años anterior pero sólo se aplica al ámbito de la pintura.
Manifiesto futurista
En teatro los futuristas alentaban a su público para que les abuchearan en vez de aplaudirles.
Obras famosas como "Pies" o "Están a punto de llegar".
Acompañaban su teatro de música, creada por una caja de ruidos, intonarumori, entonaruidos, que emitía sonidos de pitidos, bocinas y otras clases de ruido.(esto me recuerda a Phillip Glass)
La gran intuición de los futuristas fue predecir que el mundo iba a estar dominado por las máquinas. Fortísimas dosis de provocación.
El futurismo fue el arte oficial del fascismo. Cuando surge el fascismo aún no ha aparecido ni el fascismo ni el comunismo, sus referencias son al anarquismo.
La obsesión de los futuristas por el movimiento les lleva en la plástica a buscar la expresión del movimiento.
