Crisis de la masculinidad hegemónica: (re)escrituras finiseculares de la batalla de los sexos en Estados Unidos

The present dissertation explores the concept of masculinity as power, paying special attention to the production and resistance of the rigid narratives of masculinity. Such configuration has prescribed the role of men in society—both at an individual and collective level—placing man at the centre of the patriarchal system and thus conferring upon men superiority over women. Such ideological construction is based on an essentialist view of the world, where biology determines destiny. As Men’s Studies have been advocating since their emergence, the victims of such an inegalitarian system are mainly women, but there are others, such as marginalized groups of men and hegemonic men themselves. Our focus is centered on the so-called crisis of masculinity that North American men went through in the last two decades of the twentieth century, the consequences of which have not yet been completely overcome. While from an essentialist point of view such a crisis is questionable, the political, economic and sociological reality of the Reagan’s Age made visible the downsides and pitfalls of toxic masculinity. In order to face the problems derived from the damaging nature of a construction that constrains men, three broad responses to the problem were taken: pro-feminist, anti-feminist and spiritual. Except for pro-feminists, the main reaction of these groupings consisted of victimizing themselves and of defending their essentialist supremacy—lulled by the fantasy world fostered by the “politics of symbolism” (Dallek, 1999 [1984]) of Reagan’s escapist policies. Opposing this reassuring image of the United States, the Blank Generation addressed the crisis of masculinity from a nihilist perspective. Through the analysis of American Psycho, this dissertation will illustrate the darkest side of the hegemonic model of masculinity...

William Layton en España

This year 2015 marks the 55th anniversary of the establishment in Spain of the first theatre academy whose methodological principles for actors were based on the Stanislavski system —although transformed by the perspective of the Method, developed in America by the Group Theatre during the 1930s and then implanted in some famous schools such as the Actor’s Studio—. It was in October 1960 when the American actor, teacher and director William Layton (1913-1995) opened the Teatro Estudio de Madrid (TEM). By then, he had already been living in Spain for two years. In that adventure Layton was accompanied by the Spanish Miguel Narros (a stage director) and the American Elizabeth H. Buckley. This private academy began its activity by offering the Method, a discipline that Layton had learned in his country with Sandford Meisner; one member of the Group Theatre along with Lee Strasberg, Stella Adler, Harold Clurmann or Elia Kazan. Thanks to the TEM, concepts till then completely unknown in Spanish academic venues for actors such as organicity, truth, mood, sensory memory, etc., started being implemented in the theatrical interpretation. Firstly, in exercises of improvisation; secondly, in scenes and characters; and finally, after a time of performing, those concepts were tested in the scenarios, by display to the public, which is the biggest challenge for any actor, author or director. That way, a singular model of interpretation, a naturalistic type, which have prevailed in the West over other ways of interpreting, came to Spain. A system (which could be defined as organic interpretation) that had been systematized by the Russian Konstantin Stanislavski in the early twentieth century and rapidly was exported abroad by some of his first students: Richard Boleslavsky, Maria Ouspenskaya, Michael Chekhov, Pietro Scharoff, P. Pauloff... Its popularity in the USA increased mainly due to the Actor’s Studio and also thanks to professor Lee Strasberg, through the famous Method working. While in 1960 Layton founded in Madrid the TEM, together with Narros and Buckley, the Brechtian technique was arriving to Barcelona. In that city, Ricard Salvat —who had trained in Germany— and Maria Aurélia Capmany opened the School of Dramatic Art Adrià Gual (EADAG). From Catalonia and over the years, this center will project the first formulas about “distancing”. That way, after decades of delay, that same year 1960 landed in Spain two key trends that shaped and influenced the development of Western theatrical art in the first half of the twentieth century. SYNTHESIS: The knowledge and deep analysis of William Layton’s work as acting teacher in Spain will allow us to get closer to a major figure in the history of theater education in our country. Our main goal is to demonstrate that he was responsible for breaking the isolation that, from secular times, suffered the training of actors in Spain. Layton not only did achieve that, but did it consistently, without interruption. Also, by analyzing his work as stage manager, we will discover how this methodology was implemented in two aspects regarding the theatrical play: in the actor himself and in the dramatic text...

La ciudad en la narrativa latinoamericana: 1950-1975

The representation of the city has always been present in the literature. A clear example of this is the famous city of Troy. The city in terms of where the actions take place, a novel in this case, despite the efforts of some works of the contemporary narrative to eradicate or reduce to its barest minimum expression, has continued to sit as a strong element of differentiation that gives the characters certain linguistic, historical, social and cultural characteristics. In the Hispanic narrative, according to historical features of the continent, the conquest, independence, and subsequently the constitution of the republics, the representation of the city acquires some unique characteristics, whose dimensions and implications, toward the second half of the twentieth century, transcend the simple notion of 'place' in which occur the facts narrated to acquire a central notion in the works, changing from being a support to become the central structure of the novel, which is able to articulate different situations, confront characters and articulate historically to the entire countries. This paper will talk mainly about the representation of the city in the published narrative between 1950 and 1975. We will try to have a transverse reading over these works through the analysis of the representation of the city that in them we can find, and that basically divided into three broad categories, each with its own specific functions: * The royal city. Corresponds to the cities that we can actually find in the American territory, and whose spaces and descriptions, historical references and territorial, it is possible to identify the reality or in any encyclopedia: streets, historical events, places, characters, etc...