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García Lorca y el teatro convencional

LUIS FERNÄNDEZ-ClFUENTES Garcia Lorca y el teatro convencional Puede decirse-que la obra dramätica de Garcia Lorca supuso en su momento im desafio a los perfiles fijos y defmitivos del teatro convencional. Benavente y los Quintero encabezaban la lista de autores responsables de esa fijeza y enteramente ajustados a ella. La novedad de Garcia Lorca consistio en un desajuste, una liberacion, que explican buena parte de su teatro. Las päginas que siguen tratan de exponer, primero, los supuestos convencionales del teatro dominante y, segundo, el desplazamiento a que fueron sometidos por Garcia Lorca. I. Signos familiäres. Signos de lo familiär. Durante el cambio de siglo y acaso tambien durante todo el periodo de entreguerras, el telon de los teatros europeos solia levantarse sobre un escenario que reproducia minuciosamente la sala, el drawing-room, el comedor, el patio, el hall de una casa burguesa. Ibsen y, sobre todo, Chejov los habian convertido en el espacio privilegiado de la accion teatral. En 1891 Henry James contemplaba con cierto desagrado "el feo interior sobre el que inexorablemente se levantan sus telones [los de Ibsen], la alfombra horrorosa, el empapelado de las paredes, los cortinajes [...], la inevitable estufa, la encantadora mesa de centro, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Iberoromania - Revista dedicada a las Lenguas y Literaturas iberorománicas de Europa y América de Gruyter

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