Antecedentes corales del «giro corporal» y de la «reteatralización» de la escena moderna

Abstract

In France of the 19th century, with the overcoming of rationalism that gives access to feelings and emotions and the non-rational, there are dramatic forms in which the boundaries between the rational and the non-rational, between the vigil and the oniric state are blurred until they become confused, in which it tends to integrate the most varied arts into a unique spectacle, that in its theoretical and practical presupposes the look towards the primitive phases of the Greek tragedy, spectacles like Parade. Ballet réaliste with a notable antecedent in the Balet comique de la royne, Ballet de Cour of Balthazar de Beaujoyeulx, with protagonists as varied as the Marquis de Sade, R. Wagner and Fr. Nietzsche, J.-M. Charcot and his Bal des folles, J. Babinski and A. Breton with Les Détraqués, a line that ends at the beginning of the 20th century in a «theatre revolution», in the words of Fuchs, from which a «body twirls» emerges with force in the quest for a «reteatralization» of the theater in force to this day.