Mapping a Nation-State's Theatrical Culture: Histories of the Theatre in Spain

西班牙二十世纪戏剧史的文献记录一直遵循的方法是关注剧作家作为国家戏剧文化主要标志的主导地位。该项目提供了西班牙戏剧历史的替代配置，旨在询问历史和文本（在最广泛的意义上）的更多正统的阅读，这些阅读试图强调国家戏剧文化的孤立性。利用西班牙、法国和阿根廷档案中的一系列主要材料，以及对西班牙和阿根廷各地从业人员的访谈，这个项目将绘制戏剧历史，有意识地评论戏剧历史学家的意识形态议程及其对构建戏剧历史模式的影响。建立在黄金时代表演历史学家（如Evangelina Rodríguez Cuadros）所采用的文化唯物主义方法论基础上该项目将寻求用英语和西班牙语传播其研究结果，希望接触到在英国，西班牙和美洲从事文化研究，戏剧研究和西班牙裔研究领域的学者，从业者和学生，并鼓励在这一领域进一步开展学术研究。至关重要的是，虽然重点将放在戏剧表演上，但在适当的情况下，与歌剧和电影文化的交叉点也将成为特色，以便讨论意识形态，表演，审查制度和流放塑造西班牙民族戏剧话语的方式。重点将放在戏剧作为过程和产品，并将审查传播和调查的模式，产生了特定的戏剧模式，实践和从业人员出口到美洲，以及这对西班牙历史编纂的跨国方法的影响。第一本是编辑过的，由剑桥大学出版社签约，由大卫·T. Gies，美国弗吉尼亚大学西班牙语英联邦教授，提出了从中世纪到世纪的西班牙戏剧修正主义历史。虽然我们都保留对体积形状的总体责任，但我们也将各自创作单独的部分。我自己的10，000字的贡献将重新评估导演在西班牙的重要性，研究导演形象的演变，从演员经理到“metteur en scène”，然后体现了个人成就的特定资产阶级理想，商业主义和资本主义企业，见证了向文化管理的转变：“导演”或“意图”。与表演者的关系和更广泛的公司安排将被审查作为一种方式来考虑的体制结构，通过它的董事已经运作，以及他们的模式，在一个网络的政治现实和责任（重新）登录戏剧。第二个是二十世纪西班牙戏剧的研究，将由Iberoamericana出版，旨在通过六个详细的案例研究，探索表演者和导演的轨迹如何绘制西班牙戏剧的替代历史，这些历史是与欧洲和美洲其他地方的实践产生联系的基础。重点是取代戏剧文本作为主要标志，并在这样做暴露了殖民主义的议程，以前的戏剧历史学家谁曾认为西班牙戏剧作为一个贫穷的欧洲关系到更好地记录其北欧邻国的历史。该项目旨在开发记录西班牙戏剧历史的模式，超越实证主义或文学范式，而是探索殖民主义，民族主义和流亡文化对西班牙戏剧文化的交流和互动模式。

The documentation of Spain's twentieth century theatre history has been governed by approaches that have focused on the dominance of the playwright as the primary marker of the nation's theatrical culture. This project proffers alternative configurations of Spanish theatre history that seek to interrogate more orthodox readings of both history and text (in the widest sense of the term) that have sought to stress the insularity of the nation's theatrical culture. Drawing on a range of primary materials in archives across Spain, France and Argentina, as well as interviews with practitioners across Spain and Argentina, this project will map theatrical histories that consciously comment on the ideological agendas of theatre historians and the implications of these for modes of constructing theatre history.Building on cultural materialist methodologies employed by Golden Age performance historians like Evangelina Rodríguez Cuadros and José María Ruano de la Haza, the project will seek to disseminate its findings both in English and Spanish in the hope of reaching scholars, practitioners and students working in the areas of cultural studies, theatre studies and Hispanic studies in the UK, Spain and the Americas, and encouraging further scholarship in this area. Crucially, while the emphasis will be on theatrical performance, intersections with operatic and cinematic culture will also feature, where appropriate, to allow for a discussion of the ways in which ideology, performance, censorship and exile shaped the theatrical discourses of the Spanish nation. The focus will be on theatre as both process and product and will examine the modes of dissemination and inquiry that produced an exportation of particular theatrical modes, practices and practitioners to the Americas and the implications of this for a transnational approach to Spanish historiography.The findings of this project will be published in two book projects. The first is an edited volume, contracted by Cambridge University Press and curated with Professor David T. Gies, Commonwealth Professor of Spanish at the University of Virginia, USA, which proposes a revisionist history of Spanish theatre from the Middle Ages to the twenty-first century. While we both retain overall responsibility for the shape of the volume we will also each be authoring individual sections. My own 10,000 word contribution will reassess the importance of directors in Spain, examining the evolution of the figure of the director, from actor-manager to 'metteur en scène' and then coming to embody particular bourgeois ideals of individual attainment, entrepreneurialism and capitalist enterprise that witnessed a move towards cultural management: the 'directeur' or 'intendant'. The relationship with performers and wider company arrangements will be examined as a way of considering the institutional structures through which directors have operated and the modes in which they have (re)inscribed theatre in a network of political realities and responsibilities. The second is a study of twentieth-century Spanish theatre, to be published by Iberoamericana, that seeks to probe, through six detailed case studies, how the trajectories of performers and directors can map alternative histories of Spanish theatre that underlie the productive ties with practices elsewhere in Europe and the Americas. The focus is on displacing the theatrical text as the primary marker and in so doing exposing the colonialist agenda of previous theatre historians who have viewed Spanish theatre as a poor European relation to the better-documented histories of its North European neighbours. This project seeks to develop models for documenting Spanish theatre history that go beyond positivist or literary paradigms and rather explore the modes of exchange and interaction that cultures of colonialism, nationalism and exile have wrought on Spain's theatrical culture.