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Fantoche número 10

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INDICE

NEGRA FLOR

Joaquín Hernández

ENCUENTRO: YOLANDA DIANA Y ARMANDO MORALES

Yolanda D. Marcos

PRIMEROS TIEMPOS DE LA MÁQUINA REAL DE LOS TÍTERES: LOS ACTORES MAQUINISTAS

Francisco Cornejo

TÍTERES CON CARÁCTER

Susana Sánchez

OTRA HISTORIA DEL TEATRO DE TÍTERES EN ESPAÑA

Adolfo Ayuso

MUSEO PERALTA

L. Fernando de Julián

TITIRIBICI

Pablo Olías Gómez-Millán

EN BUSCA DE LA NIÑA QUE RIEGA LA ALBAHACA

Yanisbel Victoria Martínez

EDITORIAL

Tradición oral y títeres

La sabiduría popular es un cúmulo de experiencias de vida que se trasmiten de generación en generación de forma oral. Es una fuente de conocimiento y de reconocimiento de la condición humana. Cuando nos perdemos en conceptos obtusos o divagaciones, cuando las palabras se encadenan sin conseguir expresar ideas concisas y claras, entonces; para intentar aclararnos, acabamos recurriendo a la sabiduría popular que rezuman los cuentos y fábulas, y de forma más sintética las sentencias o refranes. Forma parte, por lo tanto, de ese acervo cultural, de esa sabiduría popular de tradición oral, los cuentos populares de los que, a falta de otras dramaturgias, se nutren nuestros espectáculos titiriteros. Los cuentos tradicionales, que desde tiempo inmemorial se narraban en el hogar al amor de la lumbre, no tienen una misión moralizante o doctrinaria sino aleccionadora. Intentan prevenir a los más pequeños de los peligros que acechan en la imprevisible aventura de vivir. Y para ello se valen de personajes arquetípicos y de un lenguaje simbólico. No pretenden los cuentos populares dulcificar la realidad, sino fabularla para transmitir a los niños -amparados en el seno familiar bajo la protección de los mayores- mensajes claros y tranquilizadores. Hay ahora una tendencia de revisionismo, de ñoñez, que intenta hurtar los aspectos más crueles de los cuentos de tradición oral que, al fin y al cabo, sólo tienen un significado simbólico o metafórico y que son el fiel reflejo de situaciones peligrosas o frustrantes que tarde o temprano les tocará afrontar a los más pequeños a lo largo de su vida. En España, son escasos los dramaturgos -con las notables excepciones de Lorca y Valle Inclán- que han escrito textos dramáticos para títeres. En el mejor de los casos, se trata de obras escritas ex profeso, para glosar las andanzas de héroes y villanos populares o reinventados. Existe, por lo tanto, un déficit de repertorio de obras para marionetas, y los cuentos tradicionales son una buena fuente de inspiración para todos los titiriteros. Cuando los cuentos populares se dramatizan para ser representados por títeres, la fábula argumental da un salto cualitativo desde el imaginario del niño a la realidad del personaje de “carne y hueso” representado por el títere. La fascinación, entonces, está asegurada. Ocurre, además, que el primer encuentro de los niños con los títeres supone casi un rito iniciático porque, en algunas casos, es a través de ellos como llegan a al teatro -que es el espejo de la vida- fomentando desde pequeños un talante observador y crítico del mundo que les rodea. Los títeres participan también de la misma esencia de tradición y oralidad que los cuentos. El oficio titiritero apenas está documentado y las experiencias, técnicas y rutinas se trasmiten -cuando se trasmiten- de forma principalmente oral. Ese cúmulo de aprendizajes heredados, generación tras generación, van conformando el vademécum del oficio titiritero. Cuando se rompe la cadena de transmisión oral, caen en el olvido recuerdos, personajes ilustres y sus conocimientos. Grandes maestros han podido crear escuela, rodearse de buenos y leales discípulos y transmitir toda su sabiduría ancestral. Pero tradicionalmente, el titiritero, ha sido un artesano acostumbrado a trabajar en solitario y su bagaje y maestría, en muchos casos, se pierden con él. Para que todo este patrimonio cultural no desaparezca enterrado entre el polvo de los años, se hace imprescindible el relevo generacional, fomentar la investigación y que el Arte de los Títeres sea objeto de enseñanza, como asignatura reglada, en las Escuelas Superiores de Arte Dramático. Esta revista, que ahora cumple diez años, nació para llenar el vacío que existía en España de este tipo de publicaciones que dan cabida a trabajos de investigación y de divulgación del Arte de la Marioneta. Así pues, en la medida que intenta rescatar o sustraer del olvido una parte importante de nuestra tradición titiritera, nos hace sentirnos satisfechos. Tenemos la motivación y la pasión suficiente para cumplir muchas décadas más.

Ramón del Valle Vela

Miembro del equipo de redacción

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