Teatro de filiación brechtiana na Galiza durante o tardofranquismo e a transición: as sucesivas tentativas de teatro documento de Rodolfo López-Veiga na estela de Ricard Salvat

Abstract

[Resumo] Este traballo perscruta a pegada que deixou no director e dramaturgo Rodolfo López-Veiga a dramaturxia de forte carácter brechtiano que Ricard Salvat tiña deseñado para ser estreada en 1969 no Círculo de Iniciação Teatral da Academia de Coimbra (CITAC). A pesar de que a censura salazarista impediu a súa posta en escena, foi posíbel rastrexar a circulación do seu soporte textual entre intelectuais galegos até chegar ás mans dun López Veiga decididamente interesado en fórmulas dramatúrxicas contemporáneas que lle permitisen presentar no palco espectáculos de divulgación do labor realizado por grandes vultos da cultura galega e, en consecuencia, cun forte contido de cohesión social á volta de elementos identitarios galegos específicos e diferenciados da cultura monolítica que propugnaba o réxime franquista. A descrición das sucesivas tentativas –e das estratexias aplicadas ao efecto– para atinxir a autorización da censura devólvenos unha imaxe de Rodolfo López Veiga moi diferente da que era transmitida até agora.[Abstract] This chapter examines the influence on the director and playwright Rodolfo López-Veiga of Ricard Salvat’s strongly Brechtian play text, written in collaboration with his students from the University of Coimbra and intended for premiere at the Círculo de Iniciação Teatral da Academia de Coimbra (CITAC) in 1969. Though prevented from being staged by Salazar’s censors, this chapter shows how the text continued to circulate among Galician intellectuals until it reached the hands of López-Veiga, who was looking for contemporary dramatic formulas that would allow him to bring to the stage plays about great figures of Galician culture, plays with a strong sense of social cohesion around specific elements of Galician identity that were different from the monolithic cultural personality advocated by the Franco regime. The description of López-Veiga’s repeated attempts and strategies to obtain authorisation from the censor reveals a very different Rodolfo López-Veiga from the one transmitted up to now.