El poder de la escenapintura para danza durante el franquismo

Resumo

This doctoral dissertation addresses the critical study of visual and material culture linked to the staging of Spanish dance during the Franco dictatorship (1939-1975). These shows were created from an interdisciplinary model implemented by Sergei Diaghilev’s Ballets Russes during the first third of the twentieth century. The Ballets Russes adapted the idea of Richard Wagner’s “total artwork” to dance, and thus caused an unprecedented participation of visual artists on stage, who created the sets for their own performances. This model was emulated by different international dance companies since its appearance in 1909. Among them, there is the Ballets Espagnols, by Antonia Mercé la Argentina.During the period in question, Spanish dance companies that took this model as reference proliferated in an unprecedented number. Their ability to condense and represent the values of the nation made them a great propaganda instrument, and they became a soft power of the regime.Although the propaganda role of these shows has already been put in relation to some of the musical policies of the Franco regime, this research questions the consequences of the connections between dance and painting, in order to value the importance of the visual dimension in these shows, from a symbolic and biopolitical perspective. With this, it seeks to explore other dynamics that affected artistic culture in a more general, way beyond the hegemonic narratives of the period to which they are assigned. In order to understand the survival of certain prewar models and legacies in the period studied, the focus has been placed on the perspectives of political, aesthetic, and genealogical analysis...