The Waste Land: Potential Drama, Persistent Poetry

  1. Dídac Llorens-Cubedo 1
  1. 1 UNED (España)
Revista:
Revista Canaria de Estudios Ingleses

ISSN: 0211-5913

Año de publicación: 2022

Número: 85

Páginas: 67-83

Tipo: Artículo

DOI: 10.25145/J.RECAESIN.2022.85.05 DIALNET GOOGLE SCHOLAR lock_openRIULL editor

Otras publicaciones en: Revista Canaria de Estudios Ingleses

Resumen

Hacia el final de su carrera, ya plenamente dedicado a la escritura teatral, T.S. Eliot hizo la provocadora afirmación de que su poesía temprana “luchaba por convertirse en teatro”. Este artículo se centra en elementos dramáticos de La tierra baldía (1922): escenas, voces/ personajes y diálogos. Al analizar el poema como texto proto-dramático, también tiene en cuenta la futura carrera como dramaturgo de Eliot (desde los años treinta hasta los cincuenta), así como sus ensayos contemporáneos sobre teatro y la pieza teatral inacabada Sweeney Agonista (1926-1927). Por último, este estudio se ocupa de la permanencia de imágenes, atmósferas y dicción propias de La tierra baldía en el teatro posterior de Eliot. El carácter dramático del poema anticipa las obras teatrales, que a su vez evocan el poema al ser ejemplos de teatro poético moderno.

Referencias bibliográficas

  • Allfree, Claire. 2022. “Deborah Warner Interview: ‘We need another Beckett to shake up theatre.’” The Telegraph, April 22, 2022. https://www.telegraph.co.uk/theatre/what-to-see/deborahwarner-interview-need-another-beckett-shake-theatre/?fr=operanews.
  • Baldick, Chris. 1990. The Concise Oxford Dictionary of Literary Terms. Oxford: Oxford University Press.
  • Chinitz, David. 2003. T.S. Eliot and the Cultural Divide. Chicago and London: University of Chicago Press.
  • Domig, Christopher. 2013. “The Waste Land: An Installation/Performance by a Poet, Painter and Actor.” Vimeo. Video, 52: 49. https://vimeo.com/78926824.
  • Eliot, T.S. 1934. The Rock. New York: Harcourt Brace and Company.
  • Eliot, T.S. 2004. The Complete Poems and Plays. London: Faber and Faber.
  • Eliot, T.S. 2014a. “A Dialogue on Dramatic Poetry.” In The Perfect Critic 1919-1926, edited by Anthony Cuda and Ronald Schuchard, 396-412. Vol. 2 of The Complete Prose of T.S. Eliot: The Critical Edition. Baltimore: Johns Hopkins University Press and Faber and Faber.
  • Eliot, T.S. 2014b. “The Poetic Drama.” In Eliot 2014a, 240-243.
  • Eliot, T.S. 2014c. “The Possibility of a Poetic Drama.” In Eliot 2014a, 278-285.
  • Eliot, T.S. 2014d. “‘Rhetoric’ and Poetic Drama.” In Eliot 2014a, 83-91.
  • Eliot, T.S. 2015. The Poems of T.S. Eliot. Volume I: Collected and Uncollected Poems. Edited by Christopher Ricks and Jim McCue. Baltimore: Johns Hopkins University Press.
  • Eliot, T.S. 2019a. “Greeting to the Staatstheater Kassel.” In Still and Still Moving 1954-1965, edited by Jewel Spears Brooker and Ronald Schuchard, 367-369. Vol. 8 of The Complete Prose of T.S.
  • Eliot: The Critical Edition. Baltimore: Johns Hopkins University Press and Faber and Faber.
  • Eliot, T.S. 2019b. “The Three Voices of Poetry.” In A European Society 1947-1953, edited by Jewel Spears Brooker and Ronald Schuchard, 817-833. Vol. 7 of The Complete Prose of T.S. Eliot: The Critical Edition. Baltimore: Johns Hopkins University Press and Faber and Faber.
  • Eliot, T.S. 2022. “Sweeney Agonistes: Fragments of an Aristophanic Melodrama.” Performed by Stage Sixty Theatre Club, recorded 13 June 1965. YouTube. Video, 23: 59. https://www.youtube. com/watch?v=M_yaqANQDt4.
  • Eliot, Valerie, ed. 2010. The Waste Land. A Facsimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound. London: Faber and Faber.
  • Hammond, Adam. N.d. “Eliot, Voices, and Drama.” He Do the Police in Different Voices, accessed September 2, 2022, http://hedothepolice.org/about/eliotvoicesanddrama.html.
  • Hughes, Ted. 1992. A Dancer to God. Tributes to T.S. Eliot. London: Faber and Faber. Google Books. https://books.google.com/.
  • Jones, D.E. 1960. The Plays of T.S. Eliot. London: Routledge & Kegan Paul.
  • Levenson, Michael. 2015. “Form, Voice, and the Avant-Garde.” In The Cambridge Companion to “The Waste Land,” edited by Gabrielle MacIntire, 87-101. Cambridge: Cambridge University Press.
  • Mayer, John T. 1989. T.S. Eliot’s Silent Voices. New York and Oxford: Oxford University Press.
  • Perales, Liz. 2010. “Deborah Warner: ‘El deseo de contar con un material excitante para el teatro me llevó a Eliot.’” El Cultural, June 4, 2010. https://elcultural.com/Deborah-Warner-Eldeseo-de-contar-con-un-material-excitante-para-el-teatro-me-llevo-a-Eliot.
  • Probstein, Ian. 2008. “The Waste Land as a Human Drama Revealed by Eliot’s Dialogic Imagination.” In Dialogism and Lyric Self-Fashioning, edited by Jacob Blevins, 180-203. Selinsgrove: Susquehanna University Press.
  • Query, Patrick. 2015. “The Waste Land: A Performance/Installation: A Painter, an Actor, a Poem, at the Nineteen Annual New York International Fringe Festival,” review. Time Present. The Newsletter of the T.S. Eliot Society 87: 8, 13.
  • Ricks, Christopher, and Jim McCue, eds. 2015. “Commentary.” In The Annotated Text. The Poems of T.S. Eliot, 349-1228. 2 vols. London: Faber and Faber.
Fuente de los datos: Dialnet