El teatro de Lejárraga/Martínez Sierra entre la Tradición y la Vanguardia
[EN] In Gregorio y yo. Medio siglo de colaboración (1953), by María Martínez Sierra (María de la O Lejárraga), a fundamental work to understand the terms of her protagonism in what in the last decades has come to be known as “the Gregorio Martínez Sierra signature”, we can clearly appreciate her con...
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| Tipo de recurso: | otro |
| Estado: | Versión publicada |
| Fecha de publicación: | 2025 |
| País: | España |
| Institución: | Consejo Superior de Investigaciones Científicas (CSIC) |
| Repositorio: | DIGITAL.CSIC. Repositorio Institucional del CSIC |
| OAI Identifier: | oai:digital.csic.es:10261/400579 |
| Acceso en línea: | http://hdl.handle.net/10261/400579 |
| Access Level: | acceso abierto |
| Palabra clave: | María de la O Lejárraga María Martínez Sierra Gregorio Martínez Sierra 20th Century Spanish Theater Feminine Agency Artistic Avant-garde Literary Tradition Teatro español siglo XX Agencia femenina Vanguardia artística Tradición literaria Contemporary theatre |
| Sumario: | [EN] In Gregorio y yo. Medio siglo de colaboración (1953), by María Martínez Sierra (María de la O Lejárraga), a fundamental work to understand the terms of her protagonism in what in the last decades has come to be known as “the Gregorio Martínez Sierra signature”, we can clearly appreciate her consideration of the dramatic arts as a complex system designed for its staging and driven by different actors: authors, directors, set designers, costume designers, performers, and other creators. As occurred with other avant-garde authors who opted for a concept of theater as a spectacle and knew how to recognize the importance of stage direction, in the dramatic production of Legárra/Martínez Sierra exists a constant attention to pushing the limits of the genres most cultivated in the scene of the moment; working with innovative hybridism, and adding new nomenclatures. Also noteworthy are the recreations of the themes, characters, and spaces of the literary tradition, in a clear desire to offer a contemporary reading of them, giving new life to known characters of the Western literary tradition, with special emphasis on the feminine protagonists, presented from the commitment to gender equality. The interest in enhancing the theatricality of her texts is seen in the existence of innovative expressive techniques that facilitate not only the expansion of sound and visual space with the utilization of music, songs, ambient sounds, lighting, and choreography, but also the possibility of crossing the limits of realism thanks to the recurrence of metatheatricality, the presence of the fantastic, and the rupture of the Fourth Wall. |
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