Publication: Escenificaciones de la memoria : recuperación y relectura del teatro de Maruxa Vilalta
Authors
Moreno Amor, Maravillas
item.page.secondaryauthor
Escuela Internacional de Doctorado
item.page.director
Cervera Salinas, Vicente ; Pozuelo Yvancos, José María
Publisher
Universidad de Murcia
publication.page.editor
publication.page.department
DOI
item.page.type
info:eu-repo/semantics/doctoralThesis
Description
Abstract
Esta tesis propone una relectura del teatro de la dramaturga, directora de escena, narradora, periodista y crítica literaria Maruxa Vilalta (Barcelona, 1932 - Ciudad de México, 2014), desde la huella que en él imprime su condición de exiliada de segunda generación en México. Frente al consenso crítico que ha minimizado la influencia del exilio en su obra en los escasos acercamientos académicos con los que se cuenta hasta la fecha, se sostiene aquí que su teatro está profundamente atravesado por la experiencia del exilio y la posterior dictadura. Por tratarse de una memoria sin recuerdo, heredada y mediada —debido al momento vital temprano en que se produjo—, así como por su singular situación en el ámbito cultural mexicano, la memoria encuentra en el teatro vilaltiano cauces expresivos a través de la imaginación, la proyección y la universalización de la experiencia —rasgo que su literatura comparte con la de la mayoría de los “niños de la guerra” exiliados en México: los hispanomexicanos—. Para mostrarlo, a partir un aparato teórico múltiple que vincula la hermenéutica, los estudios teatrales, semióticos y de la memoria cultural, así como enfoques historiográficos y sociológicos, esta investigación revela cómo el teatro de Maruxa Vilalta ofrece una profunda reflexión sobre la violencia, el poder, la identidad y la condición humana, al tiempo que proyecta, desde su singular posición liminal, una memoria multidireccional que conecta lo personal con lo colectivo y lo histórico con lo simbólico. Finalmente, se analiza la escasa presencia de Vilalta en la historiografía literaria tanto mexicana como del exilio republicano, proponiendo una revisión crítica de los criterios de canonización. Esta tesis aspira, por tanto, a contribuir a la recuperación de una voz fundamental del teatro hispánico del siglo XX y a ampliar el campo de estudio de la memoria exílica en su segunda generación desde una relectura de la dramaturgia vilaltiana que se ofrece en su doble acepción: por una parte, se propone una nueva forma de leer el teatro de Maruxa Vilalta desde la perspectiva de la huella mnemónica exílica y, por otra, aspira a propiciar que su obra vuelva a ser leída, reconocida y estudiada. En esa doble apuesta —analítica y ética— se inscribe su contribución al conocimiento del exilio de segunda generación, de la dramaturgia femenina y de los silencios persistentes en la historia literaria hispánica
This thesis proposes a re-reading of the theatre of the playwright, stage director, narrator, journalist and literary critic Maruxa Vilalta (Barcelona, 1932 - Mexico City, 2014), from the imprint left by her condition as a second-generation exile in Mexico. In contrast to the critical consensus that has minimised the influence of exile on her work in the few academic approaches available to date, it is argued here that her theatre is deeply marked by the experience of exile and the subsequent dictatorship. Because it is a memory without memory, inherited and mediated —due to the early vital moment in which it was produced— as well as its singular situation in the Mexican cultural sphere, memory finds expressive channels in Vilalta’s theatre through imagination, projection and the universalisation of experience, a trait that his literature shares with that of the majority of members of her generation: the Hispano-Mexicans. To show this, using a multiple theoretical apparatus that links hermeneutics, theatrical, semiotic and cultural memory studies, as well as historiographical and sociological approaches, this research reveals how Maruxa Vilalta’s theatre offers a profound reflection on violence, power, identity and the human condition, while projecting, from its singular liminal position, a multidirectional memory that connects the personal with the collective and the historical with the symbolic. Finally, the scarce presence of Vilalta in the literary historiography of both Mexico and the Republican exile is analysed, proposing a critical revision of the criteria of canonisation. This thesis aims, therefore, to contribute to the recovery of a fundamental voice in twentieth century Hispanic theatre and to broaden the field of study of the exile memory in its second generation through a re-reading of Vilalta’s dramaturgy that is offered in its double meaning: on the one hand, it proposes a new way of reading Maruxa Vilalta’s theatre from the perspective of the exile mnemonic trace and, on the other, it aspires to encourage her work to be read, recognised and studied once again. Her contribution to the knowledge of second-generation exile, of women's dramaturgy and of the persistent silences in Hispanic literary history is part of this double commitment —analytical and ethical—.
This thesis proposes a re-reading of the theatre of the playwright, stage director, narrator, journalist and literary critic Maruxa Vilalta (Barcelona, 1932 - Mexico City, 2014), from the imprint left by her condition as a second-generation exile in Mexico. In contrast to the critical consensus that has minimised the influence of exile on her work in the few academic approaches available to date, it is argued here that her theatre is deeply marked by the experience of exile and the subsequent dictatorship. Because it is a memory without memory, inherited and mediated —due to the early vital moment in which it was produced— as well as its singular situation in the Mexican cultural sphere, memory finds expressive channels in Vilalta’s theatre through imagination, projection and the universalisation of experience, a trait that his literature shares with that of the majority of members of her generation: the Hispano-Mexicans. To show this, using a multiple theoretical apparatus that links hermeneutics, theatrical, semiotic and cultural memory studies, as well as historiographical and sociological approaches, this research reveals how Maruxa Vilalta’s theatre offers a profound reflection on violence, power, identity and the human condition, while projecting, from its singular liminal position, a multidirectional memory that connects the personal with the collective and the historical with the symbolic. Finally, the scarce presence of Vilalta in the literary historiography of both Mexico and the Republican exile is analysed, proposing a critical revision of the criteria of canonisation. This thesis aims, therefore, to contribute to the recovery of a fundamental voice in twentieth century Hispanic theatre and to broaden the field of study of the exile memory in its second generation through a re-reading of Vilalta’s dramaturgy that is offered in its double meaning: on the one hand, it proposes a new way of reading Maruxa Vilalta’s theatre from the perspective of the exile mnemonic trace and, on the other, it aspires to encourage her work to be read, recognised and studied once again. Her contribution to the knowledge of second-generation exile, of women's dramaturgy and of the persistent silences in Hispanic literary history is part of this double commitment —analytical and ethical—.
publication.page.subject
Citation
item.page.embargo
19-sep-2026
Collections
Ir a Estadísticas
Este ítem está sujeto a una licencia Creative Commons. CC BY 4.0