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

西班牙二十世纪戏剧历史的记录一直是以剧作家作为国家戏剧文化的主要标志的主导地位为重点的方法。这个项目提供了西班牙戏剧历史的另一种形态，试图询问对历史和文本(在最广泛的意义上)的更正统的解读，这些文本试图强调该国戏剧文化的狭隘。该项目利用西班牙、法国和阿根廷档案中的一系列原始材料，以及对西班牙和阿根廷从业人员的采访，绘制戏剧历史地图，有意识地评论戏剧历史学家的意识形态议程，以及这些议程对构建戏剧历史模式的影响。该项目将以埃万杰琳娜·罗德里格斯·夸德罗斯和何塞·玛丽亚·鲁亚诺·德拉哈扎等黄金时代表演历史学家采用的文化唯物主义方法为基础，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、戏剧研究和拉美裔研究的学者、从业者和学生，并鼓励在这一领域开展进一步的学术研究。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也将成为特色，以便讨论意识形态、表演、审查制度和流亡如何塑造西班牙国家的戏剧话语。重点将放在戏剧作为过程和产品上，并将研究导致特定戏剧模式、做法和实践者输出到美洲的传播和调查方式，以及这对西班牙历史学的跨国方法的影响。这个项目的发现将在两个图书项目中出版。第一卷是由剑桥大学出版社承包并与美国弗吉尼亚大学西班牙语英联邦教授大卫·T·吉斯教授共同策划的编辑卷，其中提出了从中世纪到21世纪西班牙戏剧的修正主义历史。虽然我们两人都对卷的形状负有总体责任，但我们也将各自编写单独的部分。我自己的一万字稿件将重新评估导演在西班牙的重要性，考察导演形象的演变，从演员兼经理到“科学大师”，然后体现特定的资产阶级理想，即个人成就、企业家精神和资本主义企业，见证了一场走向文化管理的运动：“导演”或“总监”。与表演者和更广泛的公司安排的关系将被视为一种考虑导演运作的体制结构以及他们(重新)将戏剧纳入政治现实和责任网络的模式的一种方式。第二个是对20世纪西班牙戏剧的研究，将由Iberoamericana出版，试图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出西班牙戏剧的不同历史，这些历史奠定了西班牙戏剧与欧洲和美洲其他地区实践的富有成效的联系。重点是取代戏剧文本作为主要标志，这样做暴露了以前戏剧历史学家的殖民主义议程，他们认为西班牙戏剧与其北欧邻国有更好记录的历史有很差的欧洲关系。该项目旨在开发超越实证主义或文学范式的记录西班牙戏剧历史的模式，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产生的交流和互动模式。

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.