May 22, 2024 • 37 mins
[Más información]
Según la Biblioteca Nacional de España, «Ángel Guimerá y Jorge está considerado el más importante dramaturgo de la literatura catalana del siglo XIX y el de más proyección internacional, además de poeta, escritor y eminente orador político. Nació en Santa Cruz de Tenerife en 1845, hijo de la canaria Margarita Jorge Castellano y el catalán Agustín Guimerá Fonts. En 1853, a la edad de siete años, la familia se trasladó a Cataluña, primero a la localidad tarraconense del Vendrell y, a la muerte del padre, a Barcelona, donde desarrolló sus estudios».
En el 2024 se conmemoran los 100 años de su fallecimiento, y es por lo que nos ha parecido oportuno presentar y mostrar la figura de Guimerá. Espero que sea un descubrimiento para todos: una figura fundamental para entender la literatura y el teatro de finales del siglo XIX y principios del XX y de la literatura catalana.
Con la participación de:
Créditos:
Según la Biblioteca Nacional de España, «Ángel Guimerá y Jorge está considerado el más importante dramaturgo de la literatura catalana del siglo XIX y el de más proyección internacional, además de poeta, escritor y eminente orador político. Nació en Santa Cruz de Tenerife en 1845, hijo de la canaria Margarita Jorge Castellano y el catalán Agustín Guimerá Fonts. En 1853, a la edad de siete años, la familia se trasladó a Cataluña, primero a la localidad tarraconense del Vendrell y, a la muerte del padre, a Barcelona, donde desarrolló sus estudios».
En el 2024 se conmemoran los 100 años de su fallecimiento, y es por lo que nos ha parecido oportuno presentar y mostrar la figura de Guimerá. Espero que sea un descubrimiento para todos: una figura fundamental para entender la literatura y el teatro de finales del siglo XIX y principios del XX y de la literatura catalana.
Con la participación de:
- Carmen Márquez, doctora en filología y profesora titular de la Universidad de Las Palmas de Gran Canaria.
- José Antonio Ramos Arteaga, profesor de literatura de la Universidad de La Laguna y autor del perfil de Guimerá en la Enciclopedia de Literatura Canaria.
- Francesc Foguet i Boreu, profesor de literatura y estudios teatrales de la Universidad Autónoma de Barcelona, y director del Centro de Investigación en Artes Escénicas de esta universidad.
- Ramon Bacardit Santamaria, Comisario del año Guimerá, promovido desde el gobierno catalán, que es profesor y especialista del teatro catalán del siglo XIX y autor de diversas obras referentes a Ángel Guimerá.
Créditos:
- Producción: Biblioteca de Canarias y Bilenio Publicaciones
- Realización: Bilenio Publicaciones
- Coordinación: Verónica García Melgar
- Guion: Daniel Martín Castellano y Juan Carlos Saavedra
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:18):
This face to the mouth of theMetro r to Valencia. A greeting to
everything. From Angel Street in Malaga, Asti Calcarrot Barcelona. I' m
at Angel Street in Las Palmas deGran Canarias, Newson Don Angel Quimeras.
(00:40):
From Valentine Sanz Street to Weiler Square, there is Angel Guimera Avenue. Nothing
like a book, it is apodcast sponsored by the Canary Islands Library of
the Government of the Canary Islands,led by Juan Carlos Saavedra and Daniel Martín.
(01:11):
Who was Angel Guimera. Why itis so relevant, Why there are
streets, squares and theater that bearhis name, because there are constant references
to this author in literary pages ofdramaturgy and theatre. Why do you have
to remember that? If we hadgone out to ask about our streets we
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would have taken a surprise, becausewe are sure that few people recognize that
Ángel Gimera and Jorge, who wasborn on the 6th of May of one
thousand eight hundred forty- five SantaCruz de Tenerife and died in Barcelona on
the 18th of July of one thousandnine hundred twenty- four, is a
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referent of the scene of the latenineteenth and early twentieth century. Well Jimera
is one other side that needs tobe remembered, basically because it is a
great classic and perhaps what Guimará hasbest taught us is the extraordinary force of
desire and the realization that always occursbetween desire and power relations, with many
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times a conflict of identity identities throughthe medium. In this sense, strength
Gimera still reaches us today, Despitesome forms or formulas that may seem a
little anachronistic to us, to theminimum that we scratch a little we realize
the great passion force of his theaterand the extraordinary validity of what he is
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speaking to us among these single yearningindividuals, he wishes before they suffer the
excision for an identity that they havenot just recognized or that, moreover,
they suffer for what are the relationsof power in general. And for these
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reasons that Ramón Bacardit and others thatwe want you to discover, we propose
that you stay with us for afew minutes here at nothing like a book,
the podcast produced by the Library ofthe Canary Islands and millennium publications to
approach the figure of this universal writer, playwright, poet, speaker and activist,
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political and cultural. We do sowith the contributions of Carmen Márquez,
PhD in Philology and titular professor atthe University of Las Palmas de Gran Canaria,
with José Antonio ramos Arteaga, professorof Literature at the University of La
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Laguna and author of the Quimera Profilein the Encyclopedia of Literature Canaria, with
the professor of Literature and Theatre Studiesof ns the Autonomous University of Barcelona and
director of the Centre for Research inPerforming Arts of this university, French Foguette
and Buró, and with the interventionof Ramón Bacardit, Santa María, Commissioner
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of the Year Guimera, promoted fromthe Catalan Government, who is professor and
specialist of the Catalan theatre of the19th century and author of various works concerning
Angel Quimera. Welcome to nothing likea book, to a new special episode
about the figure ofÁngel Guimerá.In the year of the centenary of his
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death, we will begin knowing theobjectives that the organizers of the Year Guimera
in Catalonia want to achieve to seethe year dedicatedÁngel Guimera, part of
Sepa or part of three main objectives. One is to make his dramatic work
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better known, which is far moreextensive than people think, because we are
talking about a long quarantine of works, of which the public with that one
knows only four. Among them Marisel, thanks to the musical that gave the
degomizo. Therefore, on the onehand, because this demand of Guimara playwright,
on the other hand, the facetof Guimara, a poet who in
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Catalan literature of the time was alittle overshadowed by the great figure of Verdague.
And then perhaps this made him,by devoting himself, lead more to
the theatre, since his grazeta asa poet was a little relegated, when
he is, in fact, oneof the great poets in Catalan of the
nineteenth century. And finally, afacet of an activist, Catalan activist,
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verbalizing some of the main ideas ofCatalanism, of a very omy understanding vision
of interclassist catalanism and that, moreover, participated in the idea that identity is
one is chosen, it is nota thing that comes imposed or that is
given for some reason let' ssay of blood, but that one chooses
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to be what it is. Andin this sense, he himself was an
example of choosing or choosing, feelingCatalan without me, in the background,
preventing him from thinking about his Canarianland, which we always remember, even
in many interviews, but it istrue that he was one of the great
verbalizers of political catalanism. Who wasAngel Guimera, what was his historical context.
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We listened first to Carmen Márquez andthen to Ramón Arteaga, who sketched
out how social, economic and politicalcircumstances helped boost his work. Angel Guimera
is a great creator of transition betweenthe late 19th and early 20th century,
although we always have to put himthere. It is the finite, because
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it belongs more to the nineteen thanto the twenty. He writes poetry,
but he has actually gone through thehistory of literature for his theatrical production.
The most relevant thing about Angel Guimera. Well, apart from his birth in
the Canary Islands, in Tenerife,more specifically and then his transfer when he
was a child to Barcelona. Wellwhen selling it and to what was Catalonia
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of the moment, is that ithad the opportunity to live in an important
change within the political and social circumstancesof Catalonia and Spain at that time,
because it coincides with several cultural andregional rebirth movements in different places, also
here, in the Canary Islands,of course, and there is a search,
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on the one hand, for thetraditional roots of regional identity and,
on the other hand, also animportant visibility and an attempt to dimension everything
that is the culture proper to eachof each territory. This supposed in the
case ofÁngel Guiomera is that,moreover, it coincides biographically with one of
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the most important moments of expansion andimpulse of the Catalan industry, thanks precisely
to the investments in Latin America andthe commerce and the installation of a first
phase of industrialization very intense, sinceand generated a Burgesy, generated some very
important cultural networks that include magazines,theater, literary circles, etcetera, etcetera.
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That is to say, he waslucky enough to live an important moment
of rebirth of Catalan culture and,moreover, to star, because he really
became the most important figure of themoment from the literary and cultural point of
view, and he endowed some ofthe signs of identity that still today in
Catalonia are part of that claim ofCatalan identity.Ángel Guimera created them in
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that biographical sense as well, andI had a very favorable context for his
entire artistic career as a literate andpoet. Discovering the figure of Guimera,
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we are putting in value other aspectsof his development within the political and cultural
field, being an active member ofCatalan society and the Catalan identity movements.
We should also mention thatÁngel Quimerahas a facet, as well as a
poet and playwright, as a culturalactivist and as a politician. He devoted
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a lot of time and energy tothe Catalanist movement. In fact, in
the year 1, 800 eighty-nine he was appointed president of the League
of Catalonia. A little later,in the year 1, 800 ninety-
two, he was rapporteur in Vanresafor the Catalan regional constitution, or,
for example, in the year 1, 800 ninety- five, he well
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gives his admission speech as President ofthe Ateneo Barcelona, as we know,
a very important institution and it isthe first time in history that a person
gives his entry speech in Catalan,so it is also, despite having been
born in Santa Tenerife, It iscertainly one of the representatives of the Catalanist
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movement in which, well then,he actively intervened. In addition to its
entire production being written in Catalan,it has then been translated into Spanish and
other languages of then operated the languagein which it writes its production in Catalan.
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Ángel Guimerá began his literary work withpoetry Tomás Fernández and Elena Tamaro in
his book Biography ofÁngel Guimera exposeto the death of his progenitor. Guimera
settled definitively in Barcelona, where hewas already known as a poet in the
literary media of the Catalan capital.There, together with French Mathieu and his
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inseparable friend Pére Albert, he foundeda fortnightly magazine organ of literary and political
Catalanism, of which he was acollaborator and later director. His poetic work
is recorded in the Poeish volumes publishedin one thousand eight hundred eighty- seven
and according to the free poetry publishedin one thousand nine hundred twenty. His
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poetic style is defined by Ramón Arteaga. In this way, this is already
my opinion. I think Angel andMera' s best poetry is in their
plays. That' s where inhis reverse dramaturgical work really is when Angel
Imera reaches, so to speak,a greater intensity as a poet. It
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must be remembered that the poetry ofthe moment in which he enters himself,
the movement in which he registers thatit is a poetry still very much linked
to a post- Romanticism or amodernism linked to stereotypes and, therefore,
on many occasions, results in apoetry very circumstantial or closely linked to topics
and motifs quite manipulated from a poeticpoint of view. However, in his
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dramatic works, as he has tocreate a voice and is also inserted in
a theatrical action, he is particularlyvivid. Nothing like a book, it
is a podcast sponsored by the CanaryIslands Library of the Government of the Canary
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Islands, led by Juan Carlos Saavedraand Daniel Martín. But where he stands
out and transcends all his work isat dinner. He becomes one of the
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most important playwrights of his time,spreading his work beyond the border of his
vital environment. This also depends alot on the sensibilities of each historical moment
that received his works and, aboveall, that this is a thing that
you would be very much to study, that would lack a more systematic study.
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It is the different European sensitivities whenit comes to receiving the work,
not only European sensitivities, but evenfrom other parts of the world when it
comes to receiving the works, because, for example, Terra Baisha, Lower
Land were made operas, it wasvery important in Germany. There was also
a French version. He liked itvery much to the point that it was
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a work from which a film wasquestioned in a thousand nine hundred forty in
Germany, because it was apparently oneof Hitler' s favorite works, The
Opera, the German opera that wasmade from the work. But there are
also French versions, Italian versions.Then, of course, it depends a
lot on the works. For example, Maria Rosa enjoyed it a lot in
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certain years. Terra Baicha lost muchof her favor through particular. That is
to say the detriment of Maria RosaMari Cielo, so any of those could
be if I had to choose threeof Guimer' s major works, I
would put Maria Cielo, Maria Rosaand Tierra Baja Terra and then, curiously,
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I also have some comedy that couldmake it very interesting to rescue How
the Baldirona, which is a comedianate, which is also a rather, quite
nice work and I like it verymuch the one that starts from very early,
in the year 1 80 seventy-nine and since that time and throughout
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the decade of the eighties. Well, we' re talking about a first
period where the author has some elementsof romanticism. He writes his works in
verse and structures in five days.Within the works of this moment we have
to highlight Marizalo, a work ofthe year eight hundred and eighty- eight
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with which he obtained a greater successand that was the one that allowed him
to transcend from the Catalan scene tothe national scene and from there to the
international one. As an anecdote,we can say that in a version that
was made in the year one thousandand six he begins as a professional of
the theater, one of the greatactresses of our history of the theater,
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as is Margarita Cirgu who played therole of Blanca dos David Jandía Mandio.
We are listening to clear soley XaviKassán interpreting the musical theme based on the
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work of Guimera La Silla del Marfrom the theatre with dal This work is
written and performed in the writer's second stage of production. The second
stage is the dramatic production ofÁngelGuimera. It begins in the year one
thousand eight hundred and ninety and nowit is entering into a style and realistic
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structures. He abandons the three daysfor the three acts and abandons the verse
for the prose. Even some ofher works may be considered to be written
in the social theater María Rosa TierraBaja, La Hija del Mar are some
of the titles I mention to them, because they all had a film adaptation.
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Also another anecdote of this period thatI want to mention is that La
Hija del Mar was premiered in theyear two thousand twenty- one as a
musical with lyrics and adaptation leaves ormediums and with music by marsan Bola,
and that continues to have great success. In fact, he' s back
in the Barcelona scene right now.They can look for, if they wish,
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about thirty- five minutes of footageproduced by a parkinographer based on the
work of the author Angen Guimera.The protagonist is Margarita Firguu and Ricardo Puga
and has been restored by the Valencianfilm library on the link. Anyway,
we' ll provide it on theweb for nothing like a book. And
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the third and final stage in whichsome authors talk about a fourth, but
it would be a little good,because we prefer, I prefer to talk
about these three periods. As Isay well, there is a third stage
that since it is already the productionof the 20th century, in which there
is a certain return towards its firstperiod, because there is a return to
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lyricism, it uses the verse againand, of course, the historical theme.
Perhaps this happens because at this momentSpain is also starting a tenacious poetic
theatre and the author is entering it. Another anecdote of this period that I
want to tell is that in theyear nineteen hundred and eleven he writes the
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work entitled The Young Queen to bepremiered by Margarita Ciru what he does with
a certain success. Angel Quimera wasnominated for the Nobel Prize. The propelled
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nominations were repeated, but none werefruitful, denying the prize to the Swedish
academy, as it looks fortunately toreaders. There are the readers, there
' s a book you' vestudied. That is precisely called Quimera and
the Nobel Prize. History of acandidacy whose authors are Enrique and Dannos cell
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where they clarify that of course hewas a candidate almost I think he was
seventeen times a candidate for the NobelPrize and there are different reasons. First
of all, given at different pointsof agreement, that is, it is
not that it was always the samefactor that prevented the candidate from succeeding in
his candidacy. First, there isa fundamental factor is the struggle between Madrid
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Barcelona. Madrid Barcelona had constituted atthat time the two focal points of Spanish
literary culture and each had proposed onmany occasions to his candidate. Then there
is, on the one hand,the problem of fighting between territory. On
the other hand, the problem oflanguage is also important. Despite the fact
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that the Nobel Prize award does nottake into account languages and authors in minority
languages have been awarded. However,it is true that, perhaps the pressure
of castellanism, or the centralism ofthe peninsula against the expression in Catalan language,
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that is, there are different quotationmarks, different possibilities. It is
also true that it must be bornein mind that the Nobel Prize is a
very arbitrary prize. On many occasions, we have Spanish authors who were never
told that it was well deserved,that it would be, for example,
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the case of a Borge, etc. There are authors who were waiting for
him and in the end they gavehim as a llosa vargas. Either there
are authors like the Japanese one,a Kami that is the perpetual one,
or there are surprises when they gaveit to Bob Dylan. So, on
many occasions the Swedish academy quite arbitrarywhen it comes to awarding the prize.
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In Guimera' s, there wasa combination of factors, depending on what
date it was presented and how itwas presented seventeen times. Sometimes it depended
on the territorial struggle between Madrid andBarcelona, depending on the language another precisely
on circumstances, but generally, inmy opinion, but that is to say,
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I refer directly to this book thatI quoted at the beginning of this
answer. There are usually two fundamentalreasons. First, the territorial struggle between
literary circles, the most centralist circlein Madrid versus Barcelona, and then the
Spanish represented the generality and that ofBarcelona and Guibera represented a minority element,
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on the one hand, and also, therefore, of course, all the
machinery in favor of Madrid centralism and, on the other hand, the language.
So, I' m sure thatsomething had to do with some of
the candidacies there, too, atsome point. He had to see that
Catalan, at the time, wasa minority language in a country that supposedly
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had only one national language that wasSpanish. Some of his works were adapted
to cinema and opera. It wasthe adaptations of his works to the operatic
libretto, which gave him international fame. Yes exactly, He did not really
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devote himself to opera as a librettist, but several of his works had a
structure quite close to what would bethe Verist operatic plot, the verist current
in Italian opera. Then, forexample, when his works are translated into
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Castilian, also for his great competitorin the Nobel at the beginning, which
was José de che Garay, whenhis works are translated into Castilian and begin
to circulate, evidently, this isa very normal thing at the time.
At the time, it is verynormal that plays, works designed fundamentally for
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a bourgeois audience in a theatre witha basically dramatic structure, etc, etc,
were immediately seen the possibility of theirtransformation into opera or zarzuela, because
there are also zarzuelas, operas,and Guimera' s works, for example,
this one that I quoted from comedyin an act was made a zarzuela.
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So what' s more interesting thangood, it' s a very
common practice. It is common practicethat novels, many novels, but also
many plays, end up becoming thisbrilliant moment of opera and of enormous dissemination
and dissemination in the most cultured circlesof European theatre. Well, obviously it
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was done and it was I believethat precisely the Opera wasÁngel Guimera'
s best business card in Europe.It was precisely the adaptations that were made
at Opera and the success it hadeven in Scandinavia. In other words,
this was perhaps one of the waysof disseminating Guimera' s work, which
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begins by doing a work written inCatalan, but which then, through its
translation into Spanish on many occasions,passes directly to the operatic and zarzuela repertoires
of European circles.Ángel Guimera isan author of significance in that period,
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ranging from the nineteenth of the nineteenththeater forgiveness to the modern theatre as early
as the twentieth century. There is, therefore, a good change from the
declamative theatre, from the declamative interpretation, to the more realistic interpretation of the
verse to the prose, also givingentry to the social environment of the moment
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and, of course, in thisline of intervention And it is necessary to
place Angel Quimera along with authors whohave perhaps had greater significance because they have
a wide work, as is thecase of Chegaray, the first Spanish Nobel
Prize winner, or even Benito PérezGaldós himself, who is in that period
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and who, in fact, Joséde Chegaray, Benito Pérez Galdo andÁngel
Guimera were considered as the three greatauthors of the serious theatre, as they
called it in that period, andwho were mounted, well, by the
great companies, that of Margarita siguthat of María Guerrero, that of Carmen
Coveña Stño. The imprintÁngel Guimeraleft in the Catalan literature of his generation
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was very important, momentous, asFoguette first and José Antonio Ramos explained in
French later.Ángel Guivera is oneof the most outstanding playwrights in the history
of Catalan theatre. Just like jasverdegueo nasí Sol. They consider themselves the
founders, respectively of modern Catalan poetryand novels, and you will see it
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is in the realm of theatre.With his dramatic pieces, he got the
Catalan theatre to make a qualitative leaporb hubbed it and universalized it. His
stories of passions understood, his greattragedies moved audiences alike in Europe and Latin
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America, because Guimerá, with formidablesimplicity, addressed great themes that still today
challenge us, such as love,passion, understanding among cultures, brotherhood among
human beings, etc. Following someprecedents from previous authors, Guimerad had the
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genius of writing works, tragedies ordramas of great ambition that could be homologated
to other dramatic literatures in the world. Guimera was able to rub shoulders with
the great European authors of his time. On the other hand, it was
the first Catalan playwright that inspired youto win the prestigious Nobel Prize. In
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this sense, in addition to enjoyinggreat popularity in life, we can affirm
that Guibra is one of the mostuniversal playwrights in the history of Catalan theatre.
His works were released in Madrid andother European capitals, such as Paris
and Berlin. On the American continenthe triumphed in Argentina and Mexico until reaching
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the United States and Canada. Agarasfrom the most famous performers of his time.
They included works by Guimerá in theirrepertoires María Calas, María Guerrero or
Margarita Shirguu, among others. Manyof his works, Varías Rosa and Terra
Baicha, made operatic and film adaptationsuntil he arrived in Hollywood and Japan.
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The international projection of his dramaturgy,the adaptations to Abbas, various artistic disciplines
and the translations of his texts intoa wide range of languages have turned him
into a synthesis of an author presenton the silent map of contemporary theatre.
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Without a doubt, this is thebest contribution to universal Catalan lyrics, because
it is very important. That isto say, it happens with him,
as with many authors of this timethat, evidently, literature has never been
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a very generous framework with those whodevoted themselves intensely to it. Then there
are many times in which the authorsare forgotten, and suddenly, because literary
taste and even academic taste arise,because it creates different approaches and forgets some
writers and forgets others. For example, the one I was quoting him right
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now from echegaray will virtually no longerbe mounted or read. Or, for
example, Jacinto Benavente, who also, although he is demented later, but
also belongs to that injustice that thereis with respect to certain authors. In
the case of Anzo Jimera, fortunatelyfor his work, although in Spanish he
is basically a Catalan author, buthe had many translations into Spanish and was
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widely read in Spanish. But,fortunately, for Guimera, as this movement
that for Catalan culture is very importantof the renaxenza, because, obviously,
fortunately, because it is not veryrepresented, because its works are very attached
to the taste of the moment,symbolist and realistic, symbolist of the aesthetics
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of the moment and are melodramas,which I would call closer now to the
culture of melodrama than to the theater, which may perhaps taste. But even
in the recent installations that have beenmade in Catalonia of some of his works
have been a success, because theyhave allowed an intervention and an adaptation and
a modernization, an update of histexts very interesting. So, in Catalan
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literature he remains one of the foundingfathers of Catalan literature, so yes,
that there is always an interest andbecause some and I already told him before
some of his theatrical texts, someof the fragments, some of the poems
and some of the songs, suchas, for example, for telling him
some, the sardana of Santa Espinais almost a national anthem in Catalonia,
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so either mari Cielo, the daughterof the sea or on the sea Heaven.
So too, there are elements thatare already part of the Catalan identity
very well. We do not perceiveit from Spanish philology. We don'
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t perceive its importance or we've forgotten it a little bit. However,
in Catalan culture he remains a verypresent figure. From the Commissioner they
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have some wishes for when here ofthis year of the centenary of the death
ofÁngel Guimerá, that we sharewith everything, because we know and we
are aware that the author lives tothe extent that his work is read,
known, interpreted, recognized and studied. Well, after this year, it
would be nice if Guimara were alittle more known, that more of her
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works were published or that some ofher works were more accessible. It would
be very good, although it seemsto me that this year we are not
going to achieve it, But itwould be very good to get Guimará'
s work accessible also in good translationsto Spanish, even in bilingual texts,
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and that, therefore, his importantauthor aspect also to the tradition of Spanish
theater at the hand of María Guerrero, because it was highlighted, with which
it was also better known, forexample, in his land and in general,
in the Spanish- speaking area,in order to recover its facet of
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classic and, in the case ofthe theatre in Catalan, perhaps also that
it was remembered that he, alongwith other authors, are part of a
tradition that has enough entity to berecovered and remembered and not produced as it
is still produced in the theatre inCatalan, which seems that Catalan authors are
relegated and that works are made inCatalan, but of foreign authors, etc.
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Anyway, these are also a goodthing that I think that this year
you could get everything imported bar orrecur and while this sardana that is unknown
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to the author, interpreted by thegroup Avanerus and you can listen on their
YouTube channel dedicated toÁngel Guimera.We said goodbye to all of you,
I hope that we have aroused theinterest and curiosity of this author, who
never forgot the place that saw himborn, although he built his identity in
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another space. Guimera Specials has beenproduced by the Library of the Canary Islands
and Vileño Publications, with the productionand production of Juan Carlos Saavedra, Daniel
Martín and Verónica García. We arevery grateful and everything has been possible thanks
(36:15):
to the participation of Carmen Márquez,José Antonio bouquets Arteaga, French Foguette and
Ramón Bacardi, with the collaboration ofMarta Rodríguez. I loved Laura Rodriguez,
Elvira Cabrera, José Gregorio González andRocío Rivera n San Nada as a book.
(36:52):
It is a podcast sponsored by theCanary Islands Library of the Government of
the Canary Islands, conducted by JuanCarlos Saavedra and Daniel Martín
This face to the mouth of theMetro r to Valencia. A greeting to
everything. From Angel Street in Malaga, Asti Calcarrot Barcelona. I' m
at Angel Street in Las Palmas deGran Canarias, Newson Don Angel Quimeras.
(00:40):
From Valentine Sanz Street to Weiler Square, there is Angel Guimera Avenue. Nothing
like a book, it is apodcast sponsored by the Canary Islands Library of
the Government of the Canary Islands,led by Juan Carlos Saavedra and Daniel Martín.
(01:11):
Who was Angel Guimera. Why itis so relevant, Why there are
streets, squares and theater that bearhis name, because there are constant references
to this author in literary pages ofdramaturgy and theatre. Why do you have
to remember that? If we hadgone out to ask about our streets we
(01:38):
would have taken a surprise, becausewe are sure that few people recognize that
Ángel Gimera and Jorge, who wasborn on the 6th of May of one
thousand eight hundred forty- five SantaCruz de Tenerife and died in Barcelona on
the 18th of July of one thousandnine hundred twenty- four, is a
(01:59):
referent of the scene of the latenineteenth and early twentieth century. Well Jimera
is one other side that needs tobe remembered, basically because it is a
great classic and perhaps what Guimará hasbest taught us is the extraordinary force of
desire and the realization that always occursbetween desire and power relations, with many
(02:20):
times a conflict of identity identities throughthe medium. In this sense, strength
Gimera still reaches us today, Despitesome forms or formulas that may seem a
little anachronistic to us, to theminimum that we scratch a little we realize
the great passion force of his theaterand the extraordinary validity of what he is
(02:40):
speaking to us among these single yearningindividuals, he wishes before they suffer the
excision for an identity that they havenot just recognized or that, moreover,
they suffer for what are the relationsof power in general. And for these
(03:06):
reasons that Ramón Bacardit and others thatwe want you to discover, we propose
that you stay with us for afew minutes here at nothing like a book,
the podcast produced by the Library ofthe Canary Islands and millennium publications to
approach the figure of this universal writer, playwright, poet, speaker and activist,
(03:27):
political and cultural. We do sowith the contributions of Carmen Márquez,
PhD in Philology and titular professor atthe University of Las Palmas de Gran Canaria,
with José Antonio ramos Arteaga, professorof Literature at the University of La
(03:50):
Laguna and author of the Quimera Profilein the Encyclopedia of Literature Canaria, with
the professor of Literature and Theatre Studiesof ns the Autonomous University of Barcelona and
director of the Centre for Research inPerforming Arts of this university, French Foguette
and Buró, and with the interventionof Ramón Bacardit, Santa María, Commissioner
(04:14):
of the Year Guimera, promoted fromthe Catalan Government, who is professor and
specialist of the Catalan theatre of the19th century and author of various works concerning
Angel Quimera. Welcome to nothing likea book, to a new special episode
about the figure ofÁngel Guimerá.In the year of the centenary of his
(04:39):
death, we will begin knowing theobjectives that the organizers of the Year Guimera
in Catalonia want to achieve to seethe year dedicatedÁngel Guimera, part of
Sepa or part of three main objectives. One is to make his dramatic work
(05:00):
better known, which is far moreextensive than people think, because we are
talking about a long quarantine of works, of which the public with that one
knows only four. Among them Marisel, thanks to the musical that gave the
degomizo. Therefore, on the onehand, because this demand of Guimara playwright,
on the other hand, the facetof Guimara, a poet who in
(05:25):
Catalan literature of the time was alittle overshadowed by the great figure of Verdague.
And then perhaps this made him,by devoting himself, lead more to
the theatre, since his grazeta asa poet was a little relegated, when
he is, in fact, oneof the great poets in Catalan of the
nineteenth century. And finally, afacet of an activist, Catalan activist,
(05:48):
verbalizing some of the main ideas ofCatalanism, of a very omy understanding vision
of interclassist catalanism and that, moreover, participated in the idea that identity is
one is chosen, it is nota thing that comes imposed or that is
given for some reason let' ssay of blood, but that one chooses
(06:14):
to be what it is. Andin this sense, he himself was an
example of choosing or choosing, feelingCatalan without me, in the background,
preventing him from thinking about his Canarianland, which we always remember, even
in many interviews, but it istrue that he was one of the great
verbalizers of political catalanism. Who wasAngel Guimera, what was his historical context.
(06:55):
We listened first to Carmen Márquez andthen to Ramón Arteaga, who sketched
out how social, economic and politicalcircumstances helped boost his work. Angel Guimera
is a great creator of transition betweenthe late 19th and early 20th century,
although we always have to put himthere. It is the finite, because
(07:18):
it belongs more to the nineteen thanto the twenty. He writes poetry,
but he has actually gone through thehistory of literature for his theatrical production.
The most relevant thing about Angel Guimera. Well, apart from his birth in
the Canary Islands, in Tenerife,more specifically and then his transfer when he
was a child to Barcelona. Wellwhen selling it and to what was Catalonia
(07:42):
of the moment, is that ithad the opportunity to live in an important
change within the political and social circumstancesof Catalonia and Spain at that time,
because it coincides with several cultural andregional rebirth movements in different places, also
here, in the Canary Islands,of course, and there is a search,
(08:05):
on the one hand, for thetraditional roots of regional identity and,
on the other hand, also animportant visibility and an attempt to dimension everything
that is the culture proper to eachof each territory. This supposed in the
case ofÁngel Guiomera is that,moreover, it coincides biographically with one of
(08:28):
the most important moments of expansion andimpulse of the Catalan industry, thanks precisely
to the investments in Latin America andthe commerce and the installation of a first
phase of industrialization very intense, sinceand generated a Burgesy, generated some very
important cultural networks that include magazines,theater, literary circles, etcetera, etcetera.
(08:52):
That is to say, he waslucky enough to live an important moment
of rebirth of Catalan culture and,moreover, to star, because he really
became the most important figure of themoment from the literary and cultural point of
view, and he endowed some ofthe signs of identity that still today in
Catalonia are part of that claim ofCatalan identity.Ángel Guimera created them in
(09:18):
that biographical sense as well, andI had a very favorable context for his
entire artistic career as a literate andpoet. Discovering the figure of Guimera,
(09:39):
we are putting in value other aspectsof his development within the political and cultural
field, being an active member ofCatalan society and the Catalan identity movements.
We should also mention thatÁngel Quimerahas a facet, as well as a
poet and playwright, as a culturalactivist and as a politician. He devoted
(10:00):
a lot of time and energy tothe Catalanist movement. In fact, in
the year 1, 800 eighty-nine he was appointed president of the League
of Catalonia. A little later,in the year 1, 800 ninety-
two, he was rapporteur in Vanresafor the Catalan regional constitution, or,
for example, in the year 1, 800 ninety- five, he well
(10:24):
gives his admission speech as President ofthe Ateneo Barcelona, as we know,
a very important institution and it isthe first time in history that a person
gives his entry speech in Catalan,so it is also, despite having been
born in Santa Tenerife, It iscertainly one of the representatives of the Catalanist
(10:46):
movement in which, well then,he actively intervened. In addition to its
entire production being written in Catalan,it has then been translated into Spanish and
other languages of then operated the languagein which it writes its production in Catalan.
(11:11):
Ángel Guimerá began his literary work withpoetry Tomás Fernández and Elena Tamaro in
his book Biography ofÁngel Guimera exposeto the death of his progenitor. Guimera
settled definitively in Barcelona, where hewas already known as a poet in the
literary media of the Catalan capital.There, together with French Mathieu and his
(11:35):
inseparable friend Pére Albert, he foundeda fortnightly magazine organ of literary and political
Catalanism, of which he was acollaborator and later director. His poetic work
is recorded in the Poeish volumes publishedin one thousand eight hundred eighty- seven
and according to the free poetry publishedin one thousand nine hundred twenty. His
(12:00):
poetic style is defined by Ramón Arteaga. In this way, this is already
my opinion. I think Angel andMera' s best poetry is in their
plays. That' s where inhis reverse dramaturgical work really is when Angel
Imera reaches, so to speak,a greater intensity as a poet. It
(12:24):
must be remembered that the poetry ofthe moment in which he enters himself,
the movement in which he registers thatit is a poetry still very much linked
to a post- Romanticism or amodernism linked to stereotypes and, therefore,
on many occasions, results in apoetry very circumstantial or closely linked to topics
and motifs quite manipulated from a poeticpoint of view. However, in his
(12:46):
dramatic works, as he has tocreate a voice and is also inserted in
a theatrical action, he is particularlyvivid. Nothing like a book, it
is a podcast sponsored by the CanaryIslands Library of the Government of the Canary
(13:07):
Islands, led by Juan Carlos Saavedraand Daniel Martín. But where he stands
out and transcends all his work isat dinner. He becomes one of the
(13:28):
most important playwrights of his time,spreading his work beyond the border of his
vital environment. This also depends alot on the sensibilities of each historical moment
that received his works and, aboveall, that this is a thing that
you would be very much to study, that would lack a more systematic study.
(13:50):
It is the different European sensitivities whenit comes to receiving the work,
not only European sensitivities, but evenfrom other parts of the world when it
comes to receiving the works, because, for example, Terra Baisha, Lower
Land were made operas, it wasvery important in Germany. There was also
a French version. He liked itvery much to the point that it was
(14:15):
a work from which a film wasquestioned in a thousand nine hundred forty in
Germany, because it was apparently oneof Hitler' s favorite works, The
Opera, the German opera that wasmade from the work. But there are
also French versions, Italian versions.Then, of course, it depends a
lot on the works. For example, Maria Rosa enjoyed it a lot in
(14:35):
certain years. Terra Baicha lost muchof her favor through particular. That is
to say the detriment of Maria RosaMari Cielo, so any of those could
be if I had to choose threeof Guimer' s major works, I
would put Maria Cielo, Maria Rosaand Tierra Baja Terra and then, curiously,
(14:58):
I also have some comedy that couldmake it very interesting to rescue How
the Baldirona, which is a comedianate, which is also a rather, quite
nice work and I like it verymuch the one that starts from very early,
in the year 1 80 seventy-nine and since that time and throughout
(15:18):
the decade of the eighties. Well, we' re talking about a first
period where the author has some elementsof romanticism. He writes his works in
verse and structures in five days.Within the works of this moment we have
to highlight Marizalo, a work ofthe year eight hundred and eighty- eight
(15:41):
with which he obtained a greater successand that was the one that allowed him
to transcend from the Catalan scene tothe national scene and from there to the
international one. As an anecdote,we can say that in a version that
was made in the year one thousandand six he begins as a professional of
the theater, one of the greatactresses of our history of the theater,
(16:06):
as is Margarita Cirgu who played therole of Blanca dos David Jandía Mandio.
We are listening to clear soley XaviKassán interpreting the musical theme based on the
(16:26):
work of Guimera La Silla del Marfrom the theatre with dal This work is
written and performed in the writer's second stage of production. The second
stage is the dramatic production ofÁngelGuimera. It begins in the year one
thousand eight hundred and ninety and nowit is entering into a style and realistic
(16:48):
structures. He abandons the three daysfor the three acts and abandons the verse
for the prose. Even some ofher works may be considered to be written
in the social theater María Rosa TierraBaja, La Hija del Mar are some
of the titles I mention to them, because they all had a film adaptation.
(17:11):
Also another anecdote of this period thatI want to mention is that La
Hija del Mar was premiered in theyear two thousand twenty- one as a
musical with lyrics and adaptation leaves ormediums and with music by marsan Bola,
and that continues to have great success. In fact, he' s back
in the Barcelona scene right now.They can look for, if they wish,
(18:02):
about thirty- five minutes of footageproduced by a parkinographer based on the
work of the author Angen Guimera.The protagonist is Margarita Firguu and Ricardo Puga
and has been restored by the Valencianfilm library on the link. Anyway,
we' ll provide it on theweb for nothing like a book. And
(18:25):
the third and final stage in whichsome authors talk about a fourth, but
it would be a little good,because we prefer, I prefer to talk
about these three periods. As Isay well, there is a third stage
that since it is already the productionof the 20th century, in which there
is a certain return towards its firstperiod, because there is a return to
(18:48):
lyricism, it uses the verse againand, of course, the historical theme.
Perhaps this happens because at this momentSpain is also starting a tenacious poetic
theatre and the author is entering it. Another anecdote of this period that I
want to tell is that in theyear nineteen hundred and eleven he writes the
(19:11):
work entitled The Young Queen to bepremiered by Margarita Ciru what he does with
a certain success. Angel Quimera wasnominated for the Nobel Prize. The propelled
(19:36):
nominations were repeated, but none werefruitful, denying the prize to the Swedish
academy, as it looks fortunately toreaders. There are the readers, there
' s a book you' vestudied. That is precisely called Quimera and
the Nobel Prize. History of acandidacy whose authors are Enrique and Dannos cell
(20:03):
where they clarify that of course hewas a candidate almost I think he was
seventeen times a candidate for the NobelPrize and there are different reasons. First
of all, given at different pointsof agreement, that is, it is
not that it was always the samefactor that prevented the candidate from succeeding in
his candidacy. First, there isa fundamental factor is the struggle between Madrid
(20:27):
Barcelona. Madrid Barcelona had constituted atthat time the two focal points of Spanish
literary culture and each had proposed onmany occasions to his candidate. Then there
is, on the one hand,the problem of fighting between territory. On
the other hand, the problem oflanguage is also important. Despite the fact
(20:51):
that the Nobel Prize award does nottake into account languages and authors in minority
languages have been awarded. However,it is true that, perhaps the pressure
of castellanism, or the centralism ofthe peninsula against the expression in Catalan language,
(21:17):
that is, there are different quotationmarks, different possibilities. It is
also true that it must be bornein mind that the Nobel Prize is a
very arbitrary prize. On many occasions, we have Spanish authors who were never
told that it was well deserved,that it would be, for example,
(21:38):
the case of a Borge, etc. There are authors who were waiting for
him and in the end they gavehim as a llosa vargas. Either there
are authors like the Japanese one,a Kami that is the perpetual one,
or there are surprises when they gaveit to Bob Dylan. So, on
many occasions the Swedish academy quite arbitrarywhen it comes to awarding the prize.
(21:59):
In Guimera' s, there wasa combination of factors, depending on what
date it was presented and how itwas presented seventeen times. Sometimes it depended
on the territorial struggle between Madrid andBarcelona, depending on the language another precisely
on circumstances, but generally, inmy opinion, but that is to say,
(22:26):
I refer directly to this book thatI quoted at the beginning of this
answer. There are usually two fundamentalreasons. First, the territorial struggle between
literary circles, the most centralist circlein Madrid versus Barcelona, and then the
Spanish represented the generality and that ofBarcelona and Guibera represented a minority element,
(22:49):
on the one hand, and also, therefore, of course, all the
machinery in favor of Madrid centralism and, on the other hand, the language.
So, I' m sure thatsomething had to do with some of
the candidacies there, too, atsome point. He had to see that
Catalan, at the time, wasa minority language in a country that supposedly
(23:18):
had only one national language that wasSpanish. Some of his works were adapted
to cinema and opera. It wasthe adaptations of his works to the operatic
libretto, which gave him international fame. Yes exactly, He did not really
(23:41):
devote himself to opera as a librettist, but several of his works had a
structure quite close to what would bethe Verist operatic plot, the verist current
in Italian opera. Then, forexample, when his works are translated into
(24:04):
Castilian, also for his great competitorin the Nobel at the beginning, which
was José de che Garay, whenhis works are translated into Castilian and begin
to circulate, evidently, this isa very normal thing at the time.
At the time, it is verynormal that plays, works designed fundamentally for
(24:26):
a bourgeois audience in a theatre witha basically dramatic structure, etc, etc,
were immediately seen the possibility of theirtransformation into opera or zarzuela, because
there are also zarzuelas, operas,and Guimera' s works, for example,
this one that I quoted from comedyin an act was made a zarzuela.
(24:51):
So what' s more interesting thangood, it' s a very
common practice. It is common practicethat novels, many novels, but also
many plays, end up becoming thisbrilliant moment of opera and of enormous dissemination
and dissemination in the most cultured circlesof European theatre. Well, obviously it
(25:15):
was done and it was I believethat precisely the Opera wasÁngel Guimera'
s best business card in Europe.It was precisely the adaptations that were made
at Opera and the success it hadeven in Scandinavia. In other words,
this was perhaps one of the waysof disseminating Guimera' s work, which
(25:40):
begins by doing a work written inCatalan, but which then, through its
translation into Spanish on many occasions,passes directly to the operatic and zarzuela repertoires
of European circles.Ángel Guimera isan author of significance in that period,
(26:10):
ranging from the nineteenth of the nineteenththeater forgiveness to the modern theatre as early
as the twentieth century. There is, therefore, a good change from the
declamative theatre, from the declamative interpretation, to the more realistic interpretation of the
verse to the prose, also givingentry to the social environment of the moment
(26:30):
and, of course, in thisline of intervention And it is necessary to
place Angel Quimera along with authors whohave perhaps had greater significance because they have
a wide work, as is thecase of Chegaray, the first Spanish Nobel
Prize winner, or even Benito PérezGaldós himself, who is in that period
(26:52):
and who, in fact, Joséde Chegaray, Benito Pérez Galdo andÁngel
Guimera were considered as the three greatauthors of the serious theatre, as they
called it in that period, andwho were mounted, well, by the
great companies, that of Margarita siguthat of María Guerrero, that of Carmen
Coveña Stño. The imprintÁngel Guimeraleft in the Catalan literature of his generation
(27:21):
was very important, momentous, asFoguette first and José Antonio Ramos explained in
French later.Ángel Guivera is oneof the most outstanding playwrights in the history
of Catalan theatre. Just like jasverdegueo nasí Sol. They consider themselves the
founders, respectively of modern Catalan poetryand novels, and you will see it
(27:48):
is in the realm of theatre.With his dramatic pieces, he got the
Catalan theatre to make a qualitative leaporb hubbed it and universalized it. His
stories of passions understood, his greattragedies moved audiences alike in Europe and Latin
(28:11):
America, because Guimerá, with formidablesimplicity, addressed great themes that still today
challenge us, such as love,passion, understanding among cultures, brotherhood among
human beings, etc. Following someprecedents from previous authors, Guimerad had the
(28:37):
genius of writing works, tragedies ordramas of great ambition that could be homologated
to other dramatic literatures in the world. Guimera was able to rub shoulders with
the great European authors of his time. On the other hand, it was
the first Catalan playwright that inspired youto win the prestigious Nobel Prize. In
(29:04):
this sense, in addition to enjoyinggreat popularity in life, we can affirm
that Guibra is one of the mostuniversal playwrights in the history of Catalan theatre.
His works were released in Madrid andother European capitals, such as Paris
and Berlin. On the American continenthe triumphed in Argentina and Mexico until reaching
(29:27):
the United States and Canada. Agarasfrom the most famous performers of his time.
They included works by Guimerá in theirrepertoires María Calas, María Guerrero or
Margarita Shirguu, among others. Manyof his works, Varías Rosa and Terra
Baicha, made operatic and film adaptationsuntil he arrived in Hollywood and Japan.
(29:55):
The international projection of his dramaturgy,the adaptations to Abbas, various artistic disciplines
and the translations of his texts intoa wide range of languages have turned him
into a synthesis of an author presenton the silent map of contemporary theatre.
(30:17):
Without a doubt, this is thebest contribution to universal Catalan lyrics, because
it is very important. That isto say, it happens with him,
as with many authors of this timethat, evidently, literature has never been
(30:37):
a very generous framework with those whodevoted themselves intensely to it. Then there
are many times in which the authorsare forgotten, and suddenly, because literary
taste and even academic taste arise,because it creates different approaches and forgets some
writers and forgets others. For example, the one I was quoting him right
(31:03):
now from echegaray will virtually no longerbe mounted or read. Or, for
example, Jacinto Benavente, who also, although he is demented later, but
also belongs to that injustice that thereis with respect to certain authors. In
the case of Anzo Jimera, fortunatelyfor his work, although in Spanish he
is basically a Catalan author, buthe had many translations into Spanish and was
(31:30):
widely read in Spanish. But,fortunately, for Guimera, as this movement
that for Catalan culture is very importantof the renaxenza, because, obviously,
fortunately, because it is not veryrepresented, because its works are very attached
to the taste of the moment,symbolist and realistic, symbolist of the aesthetics
(31:56):
of the moment and are melodramas,which I would call closer now to the
culture of melodrama than to the theater, which may perhaps taste. But even
in the recent installations that have beenmade in Catalonia of some of his works
have been a success, because theyhave allowed an intervention and an adaptation and
a modernization, an update of histexts very interesting. So, in Catalan
(32:21):
literature he remains one of the foundingfathers of Catalan literature, so yes,
that there is always an interest andbecause some and I already told him before
some of his theatrical texts, someof the fragments, some of the poems
and some of the songs, suchas, for example, for telling him
some, the sardana of Santa Espinais almost a national anthem in Catalonia,
(32:46):
so either mari Cielo, the daughterof the sea or on the sea Heaven.
So too, there are elements thatare already part of the Catalan identity
very well. We do not perceiveit from Spanish philology. We don'
(33:07):
t perceive its importance or we've forgotten it a little bit. However,
in Catalan culture he remains a verypresent figure. From the Commissioner they
(33:27):
have some wishes for when here ofthis year of the centenary of the death
ofÁngel Guimerá, that we sharewith everything, because we know and we
are aware that the author lives tothe extent that his work is read,
known, interpreted, recognized and studied. Well, after this year, it
would be nice if Guimara were alittle more known, that more of her
(33:52):
works were published or that some ofher works were more accessible. It would
be very good, although it seemsto me that this year we are not
going to achieve it, But itwould be very good to get Guimará'
s work accessible also in good translationsto Spanish, even in bilingual texts,
(34:14):
and that, therefore, his importantauthor aspect also to the tradition of Spanish
theater at the hand of María Guerrero, because it was highlighted, with which
it was also better known, forexample, in his land and in general,
in the Spanish- speaking area,in order to recover its facet of
(34:34):
classic and, in the case ofthe theatre in Catalan, perhaps also that
it was remembered that he, alongwith other authors, are part of a
tradition that has enough entity to berecovered and remembered and not produced as it
is still produced in the theatre inCatalan, which seems that Catalan authors are
relegated and that works are made inCatalan, but of foreign authors, etc.
(34:59):
Anyway, these are also a goodthing that I think that this year
you could get everything imported bar orrecur and while this sardana that is unknown
(35:30):
to the author, interpreted by thegroup Avanerus and you can listen on their
YouTube channel dedicated toÁngel Guimera.We said goodbye to all of you,
I hope that we have aroused theinterest and curiosity of this author, who
never forgot the place that saw himborn, although he built his identity in
(35:53):
another space. Guimera Specials has beenproduced by the Library of the Canary Islands
and Vileño Publications, with the productionand production of Juan Carlos Saavedra, Daniel
Martín and Verónica García. We arevery grateful and everything has been possible thanks
(36:15):
to the participation of Carmen Márquez,José Antonio bouquets Arteaga, French Foguette and
Ramón Bacardi, with the collaboration ofMarta Rodríguez. I loved Laura Rodriguez,
Elvira Cabrera, José Gregorio González andRocío Rivera n San Nada as a book.
(36:52):
It is a podcast sponsored by theCanary Islands Library of the Government of
the Canary Islands, conducted by JuanCarlos Saavedra and Daniel Martín
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