Acceso usuarios
Antón Caamaño
Un analís del fechu teatral plantegáu dende la disciplina de les Artes Escé- niques nun tien por qué ciñise únicamente al testu dramáticu, o a estudios etnográficos.
Por ello propónse nesti trabayu l’estudiu del teatru ritual como ún de los pegollos onde s’afita en gran midida’l desendolque del sistema teatral asturianu nel pasáu y nel presente. Fadráse un percorríu teóricu conseñando les principales aportaciones al estudiu d’esta mena d’escenificaciones, y especialmente les que se refieren al etnodrama n’Asturies. Estableceráse a la fin que l’executante y la so capacidá de manexar recursos espresivos ye la llinia qu’apurre coherencia al etnodrama dende una perspeutiva diacrónica, más allá de les evoluciones que se dieran dende los sos anicios hasta l’actualidá. Ello ye lo que dexa qu’estes puestes n’escena evolucionaren de formes estremaes, ufriendo resultaos que combinen los mesmos elementos de forma caleidoscópica; too ello dientro del ámbitu européu, onde guañen numberosísimes escenificaciones con esti calter. Amiéstase una comparanza del etnodrama allugáu nel territoriu ástur col teatru ritual y popular d’una tierra culturalmente hermana d’Asturies, que ye la Tierra de Miranda (Portugal), como exemplos d’aportaciones de lo singular a la universal. Analizaráse la situación actual na que se desenvuelven estes escenificaciones dientro del territoriu ástur anguaño y faise una repasada a delles propuestes que tienen llugar dientro les Artes Escéniques asturianes que tienen que ver con esti particular.
An analysis of the theatrical fact raised from the discipline of Performing Arts cannot be limited to the dramatic text, or to ethnographic studies. Therefore, in this work, the study of ritual theater is proposed as one of the bases for the development of the Asturian theater system in past and present is based. A theoretical tour will be made reviewing the main contributions to the study of this type of staging, and especially those related to the ethnodrama in Asturias. One of the conclusions claims that the performer and his ability to handle expressive resources is the line that brings coherence to the ethnodrama from a diachronic perspective, beyond the evolutions that occurred from its origins to the present. This is what allows these form of staging to evolve in different ways, offering results that combine the same elements in a kaleidoscopic form, all within the European framework, where there are numerous scenes of this kind. A comparison of the ethnodrama located in the Asturian territory with the ritual and popular theater of a culturally sister land of Asturias, which is the Land of Miranda (Portugal), is added as examples of contributions from the singular to the universal. We will also analyze the current situation in which these performances take place within the Asturian territory today and will review some proposals that take place within the Asturian Performing Arts that have to do with this particular.
