La comedia de la premodernidad a la posmodernidad: de Nicolás Granada a Javier Daulte
Since its origins, Argentine comedy has been related to history, and revealed itself as a strongly didactic genre. This can already be observed in El hipócrita politico (anonymous 1820), the first River Plate comedy of manners. From that moment on, the genre was frequently used to debate the politic...
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Centro Interdisciplinario de Literatura Hispanoamericana (CILHA)
2013
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| Acceso en línea: | https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/4064 |
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I11-R112article-40642022-06-01T11:55:02Z Comedy from Pre-Modernism to Postmodernism: from Nicolás Granada to Javier Daulte La comedia de la premodernidad a la posmodernidad: de Nicolás Granada a Javier Daulte Sikora, Marina Premodernidad Posmodernidad Vodevil Comedia blanca Daulte Pre-Modernism Postmodernism Vaudeville Light Comedy Daulte Since its origins, Argentine comedy has been related to history, and revealed itself as a strongly didactic genre. This can already be observed in El hipócrita politico (anonymous 1820), the first River Plate comedy of manners. From that moment on, the genre was frequently used to debate the political situation. As time went by, the genre changed without loosing its didactic nature, incorporating the innovations introduced by Gregorio de Laferrère and the "sainete comedy". During the ‘50s and ‘60s it reached a climax through the revival of vaudeville techniques. The fact that realism has always been predominant in our theater, determined that comedy was considered merely popular and light, and that its productivity was exhausted in the ‘60s.Nevertheless, its productivity as intertext has not disappeared, as we can see in Javier Daulte’s plays, although the author states that theater should not serve any purpose, which implies the denial of the modern idea of engaged literature. Theater critics and historians have underlined Daulte’s intertextual work with genres such as detective fiction, science fiction, melodrama. But comedy is never mentioned, although it appears at least in two plays: Nunca estuviste tan adorable and La felicidad. Especially in the last one, a series of techniques help to place family once more as the dramatic center of the play and, in spite of the author’s statements, it has a notorious didactic penchant. Desde sus orígenes, la comedia en nuestro país estuvo ligada al acontecer histórico y se manifestó como un género teñido de un fuerte didactismo que ya puede observarse en El hipócrita político (anónimo 1820), la primera comedia de costumbres del Río de la Plata. A partir de entonces, fue frecuente la utilización del género para debatir el contexto histórico imperante.A lo largo del tiempo, el género evolucionó sin perder su carácter didáctico, pasando por las renovaciones impuestas por Gregorio de Laferrère, las de la comedia asainetada, para culminar en la recuperación de los procedimientos del vodevil, entre la década del cincuenta y del sesenta. La persistencia del realismo en nuestro teatro hizo que el género siempre fuera considerado menor y que su productividad se agotara al llegar a la década del sesenta.Sin embargo, su productividad como intertexto no se ha agotado, como se advierte en Javier Daulte, si bien el autor afirma que el teatro no debe estar al servicio de nada, con lo que estaría negando esta idea moderna del compromiso. La crítica ha visto en su teatro el trabajo intertextual con géneros como el policial, la ciencia ficción, el melodrama. No se menciona a la comedia, presente de manera notoria al menos en dos piezas: Nunca estuviste tan adorable y La felicidad. Sobre todo en la última, una serie de procedimientos nos muestran nuevamente a la familia como centro dramático y un didactismo que a pesar de los dichos del autor es más que evidente. Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) 2013-12-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/4064 Cuadernos del CILHA; Vol. 14 Núm. 2 (2013); 166-193 1852-9615 1515-6125 spa https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/4064/2918 https://creativecommons.org/licenses/by-nc-sa/2.5/ar/ |
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| author |
Sikora, Marina |
| spellingShingle |
Sikora, Marina La comedia de la premodernidad a la posmodernidad: de Nicolás Granada a Javier Daulte Premodernidad Posmodernidad Vodevil Comedia blanca Daulte Pre-Modernism Postmodernism Vaudeville Light Comedy Daulte |
| author_facet |
Sikora, Marina |
| author_sort |
Sikora, Marina |
| title |
La comedia de la premodernidad a la posmodernidad: de Nicolás Granada a Javier Daulte |
| title_short |
La comedia de la premodernidad a la posmodernidad: de Nicolás Granada a Javier Daulte |
| title_full |
La comedia de la premodernidad a la posmodernidad: de Nicolás Granada a Javier Daulte |
| title_fullStr |
La comedia de la premodernidad a la posmodernidad: de Nicolás Granada a Javier Daulte |
| title_full_unstemmed |
La comedia de la premodernidad a la posmodernidad: de Nicolás Granada a Javier Daulte |
| title_sort |
comedy from pre-modernism to postmodernism: from nicolás granada to javier daulte |
| description |
Since its origins, Argentine comedy has been related to history, and revealed itself as a strongly didactic genre. This can already be observed in El hipócrita politico (anonymous 1820), the first River Plate comedy of manners. From that moment on, the genre was frequently used to debate the political situation. As time went by, the genre changed without loosing its didactic nature, incorporating the innovations introduced by Gregorio de Laferrère and the "sainete comedy". During the ‘50s and ‘60s it reached a climax through the revival of vaudeville techniques. The fact that realism has always been predominant in our theater, determined that comedy was considered merely popular and light, and that its productivity was exhausted in the ‘60s.Nevertheless, its productivity as intertext has not disappeared, as we can see in Javier Daulte’s plays, although the author states that theater should not serve any purpose, which implies the denial of the modern idea of engaged literature. Theater critics and historians have underlined Daulte’s intertextual work with genres such as detective fiction, science fiction, melodrama. But comedy is never mentioned, although it appears at least in two plays: Nunca estuviste tan adorable and La felicidad. Especially in the last one, a series of techniques help to place family once more as the dramatic center of the play and, in spite of the author’s statements, it has a notorious didactic penchant. |
| publisher |
Centro Interdisciplinario de Literatura Hispanoamericana (CILHA) |
| publishDate |
2013 |
| url |
https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/4064 |
| topic |
Premodernidad Posmodernidad Vodevil Comedia blanca Daulte Pre-Modernism Postmodernism Vaudeville Light Comedy Daulte |
| topic_facet |
Premodernidad Posmodernidad Vodevil Comedia blanca Daulte Pre-Modernism Postmodernism Vaudeville Light Comedy Daulte |
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AT sikoramarina comedyfrompremodernismtopostmodernismfromnicolasgranadatojavierdaulte AT sikoramarina lacomediadelapremodernidadalaposmodernidaddenicolasgranadaajavierdaulte |
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1800221177291997184 |
