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Acordes antiguos y nuevos sobre las Marionetas

José Antonio González Alcantud


Abstract:

Reflecting on the scenographic possibilities of marionettes in our times is especially pertinent in Cádiz, seat of the celebrated little popular theatre of la Tía Norica (Aunt Norica). Marionettes in the Mediterranean world have survived and have been adapted to the burlesque and the iconoclastic, circulating among the most popular sectors of any population. Furthermore their physical distribution is the consummate expression of the counterpoint between East and West. Shadow puppetry, represented by the Graeco-Turkish karaguiosis that extended throughout the Ottoman world to Tunis, is of Oriental origin. That with strings seems to be associated with Occidental rationality and extends between Italy and Spain, with traditional manifestations like the Tía Norica mentioned above or Sicilian pupis. Each marionette theatre has adapted to local dialects, linguistic idioms and cultures, though all have imbibed from classics such as the epic cycle inspired by the “Orlando furioso” or the “Jerusalén liberada.” The sublime humour of marionettes has served equally as a source of reflection for humanists (for whom it served as a metaphor of the nature of the relation between man and Fate), and as a source of innovation for artists, as evidenced by the Italian Futurists who explored this plastic art form. Popular theatres suffered a terrible blow with the advent of television, which first destroyed and then co-opted marionettes in the form of puppets. After the analyses in this article, however, the author maintains that today, marionettes still present endless possibilities for artistic and musical renewal.

Keywords: Marionettes

Idioma: spa

Páginas: 7 - 20

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