The pain of feeling like birds and not being able to sing: declaimers in the poetic universe of Alemany Villa

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At the beginning of the 20th century, the national theater went through a period of particular experimental intensity like other aesthetic phenomena of the moment (plastic, music, literature, cinematography, architecture). The scene began to harbor new aesthetic experiences that arose from the inter...

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Autor principal: Borgatello, Montserrat
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2021
Acceso en línea:http://revistascientificas.filo.uba.ar/index.php/mora/article/view/11095
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Mora de Universidad de Buenos Aires
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spelling I28-R259-article-110952023-02-27T13:29:32Z The pain of feeling like birds and not being able to sing: declaimers in the poetic universe of Alemany Villa El dolor de sentirse pájaros y no poder cantar: las declamadoras en el universo poético de Alemany Villa Borgatello, Montserrat At the beginning of the 20th century, the national theater went through a period of particular experimental intensity like other aesthetic phenomena of the moment (plastic, music, literature, cinematography, architecture). The scene began to harbor new aesthetic experiences that arose from the intersection between literary culture and entertainment. Among them is the art of declamation. This article focuses on the 1920s, a period in which this discipline undergoes a process of expansion and autonomization, thus leaving the school cloister to move to the theater scene. The sections “Intérpretes poéticos” and “Por el mundo de la declamación” of the cultural magazine Comoedia para todos (1926-1933) allow us to reconstruct the case of the Escuela Universal de Arte Universal, directed by Alemany Villa towards the middle of the first decade of the 20th century, until his death in 1931. The photographs and critical reviews of the poetic auditions published by the magazine reveal the contradictions surrounding the process of autonomizing this aesthetic practice. These are sources that illuminate the tensions between two orders of representation, the textual, typical of literary culture; and the visual, with the conformation of an entertainment industry. A comienzos del siglo XX el teatro nacional atravesó un período de particular intensidad experimental como otros fenómenos estéticos del momento (la plástica, la música, la literatura, la cinematografía, la arquitectura). La escena comenzó a albergar nuevas experiencias estéticas que surgían del cruce entre la cultura letrada y el espectáculo. Entre ellas se encuentra el arte de la declamación. Este artículo se centra en la década de 1920, período en el cual esta disciplina experimenta un proceso de expansión y autonomización, abandonando así el claustro escolar para trasladarse a la escena teatral. Las secciones “Intérpretes poéticos” y “Por el mundo de la declamación” de la revista cultural Comoedia (1926-1933) permiten reconstruir el caso de la Escuela Argentina de Arte Universal, dirigida por Alemany Villa hacia mediados de la primera década del siglo XX, hasta su muerte en 1931. Las fotografías y reseñas críticas de las audiciones poéticas publicadas por la revista revelan las contradicciones en torno al proceso de autonomización de esta práctica estética. Se trata de fuentes que iluminan las tensiones entre dos órdenes de representación, el textual, propio de la cultura letrada; y el visual, con la conformación de una industria del espectáculo. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2021-01-01 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo revisado por pares application/pdf http://revistascientificas.filo.uba.ar/index.php/mora/article/view/11095 10.34096/mora.n27.11095 Mora; Núm. 27 (2021); 73-90 1853-001X 0328-8773 spa http://revistascientificas.filo.uba.ar/index.php/mora/article/view/11095/9976
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-259
container_title_str Mora
language Español
format Artículo revista
author Borgatello, Montserrat
spellingShingle Borgatello, Montserrat
The pain of feeling like birds and not being able to sing: declaimers in the poetic universe of Alemany Villa
author_facet Borgatello, Montserrat
author_sort Borgatello, Montserrat
title The pain of feeling like birds and not being able to sing: declaimers in the poetic universe of Alemany Villa
title_short The pain of feeling like birds and not being able to sing: declaimers in the poetic universe of Alemany Villa
title_full The pain of feeling like birds and not being able to sing: declaimers in the poetic universe of Alemany Villa
title_fullStr The pain of feeling like birds and not being able to sing: declaimers in the poetic universe of Alemany Villa
title_full_unstemmed The pain of feeling like birds and not being able to sing: declaimers in the poetic universe of Alemany Villa
title_sort pain of feeling like birds and not being able to sing: declaimers in the poetic universe of alemany villa
description At the beginning of the 20th century, the national theater went through a period of particular experimental intensity like other aesthetic phenomena of the moment (plastic, music, literature, cinematography, architecture). The scene began to harbor new aesthetic experiences that arose from the intersection between literary culture and entertainment. Among them is the art of declamation. This article focuses on the 1920s, a period in which this discipline undergoes a process of expansion and autonomization, thus leaving the school cloister to move to the theater scene. The sections “Intérpretes poéticos” and “Por el mundo de la declamación” of the cultural magazine Comoedia para todos (1926-1933) allow us to reconstruct the case of the Escuela Universal de Arte Universal, directed by Alemany Villa towards the middle of the first decade of the 20th century, until his death in 1931. The photographs and critical reviews of the poetic auditions published by the magazine reveal the contradictions surrounding the process of autonomizing this aesthetic practice. These are sources that illuminate the tensions between two orders of representation, the textual, typical of literary culture; and the visual, with the conformation of an entertainment industry.
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2021
url http://revistascientificas.filo.uba.ar/index.php/mora/article/view/11095
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first_indexed 2023-06-27T21:15:22Z
last_indexed 2023-06-27T21:15:22Z
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