Os dereitos das mulleres no teatro (de homes) das Irmandades da Fala

Abstract

[Resumo] Para contextualizar o tema, este artigo comeza expoñendo a situación das mulleres no teatro galego das primeiras décadas do século XX, atendendo á súa participación nas actividades dramáticas como escritoras, tradutoras, actrices e tamén, desde a perspectiva da temática, como protagonistas das obras da época, as do teatro social ou teatro de tese. Móstrase a escasa presenza de escritoras, así como os prexuízos sociais que tiñan que superar para traballar como actrices; canto ao tratamento que recibían no teatro de tese, proba que as mulleres das clases populares aparecían como vítimas propiciatorias dos poderosos. Entre 1920 e 1936, fronte a unha única dramaturga, Herminia Fariña Cobián (1904-1966), cuxa obra non chegou até a actualidade, houbo catro dramaturgos galegos que escribiron, e estrearon, algunha peza destinada a defender a igualdade de dereitos para as mulleres, tres deles do grupo xeracional das Irmandades da Fala e o cuarto, da Xeración das Vangardas: Donosiña (1920), de Xaime Quintanilla; Entre dous abismos (1920), de Antón Vilar Ponte (1881-1936); A tola de Sobrán (1920), Francisco Porto Rey (1876-1941); María Rosa (1921), de Gonzalo López Abente (1878-1963) e Branca (1934), de Luís Manteiga ((1903-1949). O corpo do artigo está constituído pola análise destas obras e a reacción que provocaron nos sectores máis conservadores.

[Abstract] To contextualize this topic, this article begins by showing the situation of women in Galician theatre during the first decades of the 20th Century, paying attention to their work as playwrights, translators, actresses and also, from a topic-oriented perspective, as protagonists of those plays from this period written in the sub genres of social theatre and problem plays. There were very few female playwrights at that time, and the women who wanted to work as actresses had to overcome strong social prejudices. In problem plays the female characters from lower social classes appeared as scapegoats for the rich and powerful. Between 1920 and 1926 there was only one Galician female playwright, Herminia Fariña Cobián (1904-1966), whose work has been lost, while there were four Galician male playwrights who wrote and staged plays that defended equal rights for women. Three of those four were members of the generation group Irmandades da Fala and the fourth one belonged to the avant-garde generation. The main body of this article analyses the plays Donosiña (1920), by Xaime Quintanilla; Entre dous abismos (1920), by Antón Vilar Ponte (1881-1936); A tola de Sobrán (1920), by Francisco Porto Rey (1876-1941); María Rosa (1921), by Gonzalo López Abente (1878-1963) and Branca (1934), by Luís Manteiga (1903-1949) and the response they got from the most conservative groups of the Galician society.