El espectáculo unipersonal: historia y teoría del actor y del personaje

356 Pages·2017·2.24 MB·Spanish

UNIVERSIDAD COMPLUTENSE DE MADRID
FACULTAD DE FILOLOGÍA

TESIS DOCTORAL

El espectáculo unipersonal: historia y teoría del actor y del
personaje

MEMORIA PARA OPTAR AL GRADO DE DOCTOR
PRESENTADA POR
Marco Tulio Luna Ramírez

DIRECTOR

Dámaso López García

Madrid, 2018

© Marco Tulio Luna Ramírez, 2017

AGRADECIMIENTOS

Totales y eternos a mi familia, mis
amigos, que son también mi familia,
a los grandes profesores, que me han
favorecido con uno de los mayores
dones que pudieran compartir
conmigo, el de la paciencia; y a la
vida por permitirme intentar seguir
adelante… Gracias por darme
fuerzas para intentar ser un mejor
ser humano.
Tabla de Contenido
ABSTRACT .............................................................................................................................................. 3
RESUMEN ................................................................................................................................................ 7
INTRODUCCIÓN ..................................................................................................................................13
CAPITULO 1 ..........................................................................................................................................18
EL ESPECTÁCULO UNIPERSONAL Y LA HISTORIA DEL TEATRO ..................................18
1.1. LAS SOCIEDADES PRELITERARIAS. .............................................................................18
1.2. EL MUNDO ANTIGUO. ........................................................................................................47
1.2.1. GRECIA. ...........................................................................................................................52
1.2.2. ROMA. ..............................................................................................................................58
1.3. LA EDAD MEDIA. ..................................................................................................................69
1.4. EDADES MODERNA Y CONTEMPORÁNEA. ................................................................81
CAPITULO 2 ..........................................................................................................................................87
EL ACTOR Y EL ESPECTÁCULO UNIPERSONAL .....................................................................87
2.1. EL ACTOR Y EL CHAMÁN. .................................................................................................88
2.1.1. EL CHAMÁN. .................................................................................................................95
2.1.2. EL RITO Y EL TEATRO. .......................................................................................... 111
2.2. EL MUNDO ANTIGUO. ..................................................................................................... 118
2.2.1. EL MIMUS. ................................................................................................................... 136
2.2.2. EL ACTOR EN EL MEDIOEVO Y SUS PERSONAJES. ..................................... 141
2.2.3. EL ACTOR EN EL RENACIMIENTO Y SUS PERSONAJES. ........................... 148
2.3. EL ACTOR SOLITARIO. .................................................................................................... 169
2.3.1. AEDOS. ......................................................................................................................... 169

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2.3.2. RAPSODA. .................................................................................................................... 177
2.3.3. EL JUGLAR................................................................................................................... 182
2.3.4. EL BUFÓN. ................................................................................................................... 203
2.3.5. EL SEGRER. ................................................................................................................. 210
2.3.6. EL BULULÚ. ................................................................................................................ 212
CAPÍTULO 3 ....................................................................................................................................... 219
EL ESPECTÁCULO UNIPERSONAL ........................................................................................... 219
3.1. DRAMATURGIA. ................................................................................................................. 221
3.2. TEATRALIDAD. .................................................................................................................. 223
3.3. PRODUCCIÓN DELUNIPERSONAL. ............................................................................. 227
3.4. EL ESPECTÁCULO UNIPERSONAL EN SUS EJEMPLOS. ...................................... 234
3.4.1. EL HIDALGO EN SOLITARIO. ............................................................................... 234
3.4.2. GIGANTE UNIPERSONAL: GARGANTÚA. ........................................................ 260
3.4.3. LA PANTOMIMA Y EL MIMO MODERNO. ....................................................... 273
3.4.4 STAND UP COMEDY. ................................................................................................ 284
3.4.5. UNIPERSONAL DE PIEDRA. ................................................................................. 299
SÍNTESIS Y OBJETIVOS ................................................................................................................. 323
CONCLUSIONES ............................................................................................................................... 328
BIBLIOGRAFÍA ................................................................................................................................. 340
Bibliografía Digital y Consultas. ........................................................................................... 351

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ABSTRACT
The present work arises from the concern about the work of the solitary actor or
actress in the world of the theatrical stage, a subject little studied, or at least rarely
approached from the historical perspective of the individual stage. In the modern
time the solitary artist develops a myriad of stage actions in theaters, squares or
streets in general, developing various forms of individual expression because of
infinity of special motivations, motivations ranging from one's own aesthetic
concern to economic necessity and resource optimization. However, it is not a
current phenomenon, since throughout the history of humanity, and of western
culture in particular, there have been similar expressions, which is why it is
important to know the very history of the actor's work, to suggest that even in
prehistory there might have been a pre-theatrical manifestations in that sense.
The preliteraries societies leave an unknown about the origins of representation, of
theatricality, where the sacred arises from the ignorance of the world around the
individual, who drinks from the springs of imagination, myth and ritual to explain
his existence and to ward off the deepest fears. The skills and abilities of the human
being are prioritized as a means of survival in the search for food, shelter and
protection, characteristics that are shaped and refined with the everyday experience
according to success or failure in business that he ventures. The community can
highlight the individuals who possess this or that quality, abilities that are of benefit
so that the conglomerate can exist materially and spiritually.
The ancient worlds of Greece and Rome, more recent as cultural references of the
West, have left valuable examples of the actor's history, its circumstances and its
needs. The cultures which developed intellectually were also sophisticated in the
world of scenic expression. The relationship with nature will continue to be a
fundamental reason, but unlike in the illiterate world, in these cultures you can see
the possible emergence of a specific theatricality that reaches in some way up to the
present. Its projection reaches the middle age, where the forms change, the human
needs acquire particular profiles referring to the environment in which they must

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subsist. Religion makes the stage be seen from another point of view, and of course,
the consideration of those who were regarded as artists of representation, who must
fit in multiple conceptual ways. The modern and contemporary age end up by
outlining the actor's action, the development of his characters, and in general the
world of theater, possibly rescuing the solitary actor, who has always existed, but
who had to reconvert, submit or to be exiled from the theatrical actions accepted at
any time.
The original or historical course makes it clear that at all times there has been the
actor's need to express himself. At times he has been the author and creator of his
own representations, from poetry to theater, in other episodes he is only subject or
connected with other actors or groups of actors, but always in the face of an
audience that already creates the significance of Fiction, relationship that makes the
same reason for theatricality.
The solitary actor carries with him the responsibility of his own performance, not
being able to rely on others, and of course, leaving aside any concealment behind
other creators, called authors, set designers, directors, etc. For this reason history
has left great examples, each with its own characteristics, of possible acts that could
form the basis of the single-person show. Aedos, Rapsodas, Juglares and other
individuals, developed their work within the framework of their historical
appearance, conditioned by the culture that supported them, motivated or limited
them, but always in the historical circumstantial context.
Individual performances involve a special dramaturgical activity, which drinks from
the springs of theatrical dramaturgy, but which in turn is prepared with the
intention of the interpretation and action on the part of a single person, with which
this dramaturgy necessarily leads to a special theatricality, a different
communicative connection for its possibilities and limitations, but which always
leaves an essentially special sensation with respect to any other type of
representation. Its production is then of a unique character, because the presence of
a single actor on stage does not necessarily mean being under the view of being a
one-man show, and therefore, different characteristics arise to achieve that the
essence of this type of show gets life.

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Manifestations of possible individual acts in forms and situations alternative to the
theater as such can be seen in reviewing works such as Don Quijote de la Mancha or
Gargantua and Pantagruel, since the characters described, as a salable feature, are
found alone, although surrounded by multiple characters, that is, they are the only
protagonists of the deep sense of action and narration. Broadening the sense of the
scenic to the narrative, one can find striking aesthetic profiles that can nourish the
essence of the one-man show.
The pantomime and the work of the live street statues are other examples, possibly
more to the universe of the one-man stage, but that has its own peculiarities. The
case of street acts as human statues, are of special presence in our times, their work
can also be assumed, in most cases, as projects undertaken by a single individual. In
particular, the subject of live street statues is not much researched, and for that
reason deserves a particular study. The stand-up comedy makes its appearance in
contemporary society, obtaining an unusual success in the general public. Possibly
its ability to generate humor, hilarity and surprise, has made this type of genre as
popular as profitable. A single individual, with the minimum of resources, really
with none, succeeds in attracting diverse audiences, who can access the contents of
live performances or through the various audiovisual or digital formats, thus
allowing the genre itself enjoy plenty of flexibility and power.
The overview intends to show part of the theatrical development from the
perspectives described above, trying to recover the connections with the work of
the solitary actor spectacle, recovering its characteristics and differences, but also,
making a fundamental glance for the re-valorization of those individuals who have
dedicated to such laborious activity. Individuals as a person, as a human being, are
the basis of this type of action, the actor or the actress who risks creating from the
same origin, the idea, to the representation of the same, going through technical
difficulties , but also by overcoming economic and social constraints.
Based on the above, it is hoped to be able to raise the curiosity of such a diverse
universe of the performance, in order to motivate the constant investigation on the
subject. To value the individual who dedicates his life to this type of genre is to value
the actor who in turn becomes the author, producer and director of his own show, a
company that requires a lot of dedication and courage, where responsibility cannot

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be drawn towards none other than the very human protagonist of the one-man
shows.
The individual achieves large companies working in group, however, when the
individual is alone, he must develop all the possibilities that allow him to show his
qualities, sharpening his skills, developing skills and discovering his immense self-
promoting abilities. Notwithstanding the above, the individual also knows that there
is no one to lean on immediately, he knows his responsibility to the company
involved and to himself. In the field of one-man stage spectacle, this responsibility is
not limited to his own conscience, but extends to those who watch him and listen to
him, towards the audience. Thus, the solitary actor or actress must be aware of such
stage communication, assuming that such public exists, and that for it is acted.
Theatricality then puts on an important weight on the shoulders of the actor or the
actress, and it is important to get the messages to the audience. The success or
failure of his show depends on his action on and off the stage. The one-man show
demands all the energy of the individual, and if it is not regulated and designed, it
can exhaust the human being who assumes it, risking, even, to affect the individual
as such, and not only the role of actor and his capacity.
In this modern world of frenetic activity, of digital speed, of communicative
immediacy, the spectacle of a single person achieves that whoever executes it, as
well as who contemplates it, reflects regardless of the type of piece or message that
is shown and transmitted, about human capacity and the possibilities of life, on the
strong connotations of courage when it rises to exist alone, and in the case of art,
which risks the individual to be vulnerable in the eyes of the world.
The difficulties to take on the challenge of any company, not only in the artistic
universe, are many, beyond the techniques used or the necessary resources, the
limitations that each society marks according to its culture and its judgments and
prejudices become more important; this type of difficulties are probably the most
difficult to overcome, and therefore make more plausible the work of each and every
one of the actors and actresses who, even knowing or sensing social risks, are
launched for the Sublime of human expression: the Art.
Keywords:Theatre-Actor-unipersonal-Culture–theatricality

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RESUMEN
El presente trabajo surge de la inquietud sobre el quehacer del actor, o la actriz, en
el mundo escénico en solitario, un tema poco estudiado, o por lo menos abordado
pocas veces desde la perspectiva histórica del unipersonal escénico. Modernamente
el actor en solitario desarrolla multiplicidad de acciones escénicas en los teatros, las
plazas o las calles en general, desarrollando diversas formas de expresión en
solitario debido a infinidad de motivaciones especiales, motivaciones que van desde
la propia inquietud estética hasta la necesidad económica y la optimización de
recursos. Sin embargo, no es un fenómeno actual, ya que a través de la historia de la
humanidad, y de la cultura occidental en particular, han existido expresiones
similares, razón por la cual es importante conocer la historia misma del quehacer
del actor, llegando incluso a sugerir que, incluso, en la prehistoria pudieran existir
manifestaciones pre-teatrales en tal sentido.
Las sociedades preliterarias plantean la incógnita sobre los orígenes de la
representación, de la teatralidad, en donde lo sagrado surge del desconocimiento
del mundo que rodea al individuo, el cual bebe de las fuentes de la imaginación, el
mito y el rito para explicar su existencia y poder conjurar los miedos más profundos.
Las habilidades y destrezas que posee el ser humano se priorizan como medio de
sobrevivencia en la búsqueda del alimento, del techo y de la protección,
características que se van perfilado y perfeccionando con la experiencia del día a día
según el éxito o fracaso en las empresas que acomete. Dentro de la comunidad
pueden destacar los individuos que poseen tal o cual cualidad, habilidades que
sirven de provecho para que el conglomerado pueda existir material y
espiritualmente.
El mundo antiguo de Grecia y Roma, más recientes como referencias culturales de
occidente, han dejado ejemplos valiosos de la historia del actor, de sus
circunstancias y sus necesidades. Culturas desarrolladas intelectualmente, también
lo fueron en el mundo de la expresión escénica. La relación con la naturaleza seguirá
siendo razón fundamental, pero a diferencia del mundo preliterario, en estas
culturas se puede ver el posible surgimiento de una teatralidad específica que llega

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