Abstract
This first section attempts to survey what is, in itself, an overview of the presence of Bernard Shaw’s drama on the Uruguayan theatre scene. The time frame for this chapter is affected by the practical absence of any Shaw productions in Montevideo during the first two decades of the twentieth century. This does not necessarily mean that Shaw had not been a significant intellectual force in Uruguay and the rest of the Southern Cone. Let us remember that, on the occasion of Shaw’s passing, Número published an article by Uruguayan critic Emir Rodríguez Monegal—living in Cambridge at the time—who, despite arguing that Shaw’s work had become outmoded, underscored his stature and influence:
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Notes
- 1.
Emir Rodríguez Monegal, “Inmortalidad de G.B.S.,” Número, December 1950, 592. All translations are by the editor. Only selected (and signed) articles in periodicals have been listed in the References section. The rest are cited in the relevant endnotes.
- 2.
Emir Rodríguez Monegal, “‘Bernard Shaw’, Frank Harris,” Marcha, 17 March, 1944, 15.
- 3.
The Catholic Church and the State became formally separated by the Uruguayan Constitution of 1919.
- 4.
Rosita Forbes, Tribuna Popular, 5 February, 1932, 8. Cited in Gerardo Caetano and José Rilla, Historia Contemporánea del Uruguay (Montevideo: Fin de Siglo, 2004), 199.
- 5.
La lucha obrera, December, 1931, 4.
- 6.
See, for example, Roger Mirza, “Para una revisión de la historia del teatro uruguayo: desde los orígenes hasta 1900,” in Uruguay, imaginarios culturales: desde las huellas indígenas a la modernidad, eds. Hugo Achugar and Mabel Moraña (Montevideo: Ediciones Trilce, 2000), 183, 192.
- 7.
Osvaldo Pellettieri y Roger Mirza, eds., Florencio Sánchez entre las dos orillas (Buenos Aires: Galerna, 1998).
- 8.
For more on the origins and history of the Comedia Nacional, see the relevant section on their website at https://comedianacional.montevideo.gub.uy/institucional/los-origenes (In Spanish).
- 9.
Claudio Paolini, El teatro uruguayo y los pliegues del realismo (Montevideo: Delta, 2014), 10.
- 10.
See Nieto Caballero in this volume.
- 11.
El País, 4 August 1937, 11.
- 12.
Marcha, 26 December 1947, 16.
- 13.
El País, 9 September 1947, 5.
- 14.
Gustavo A. Rodríguez Martín, “Shaw’s Ireland (and the Irish Shaw) in the International Press (1914-1925),” in Audrey McNamara and Nelson Ritschell, eds. Bernard Shaw and the Making of Modern Ireland (Cham, Switzerland: Palgrave, 2020).
- 15.
Marcha, 19 October 1951, 12.
- 16.
El País, 22 October 1951, 18.
- 17.
El Debate, 20 October 1951, 6.
- 18.
Marcha, 16 November 1951, 11.
- 19.
El País, 24 July 1959, 8.
- 20.
This quotation appeared originally in James Huneker, Iconoclasts: A Book of Dramatists (New York: Scribner’s Sons, 1922), 254–255.
- 21.
El Debate, 5 September 1955, 5.
- 22.
El Debate, 9 September 1955, 5.
- 23.
El Debate, 16 September 1955, 5.
- 24.
Marcha, 28 October 1955, 17.
- 25.
El Debate, 27 June 1957, 5.
- 26.
El Debate, 16 July 1957, 5.
- 27.
El Debate, 20 September 1957, 5.
- 28.
El Debate, 25 March 1958, 7.
- 29.
El País, 8 August 1959, 12.
- 30.
Marcha, 8 April 1960, 15.
- 31.
Servicio de Difusión Radioeléctrica, su organización y cometidos. Memoria de la labor realizada entre 1930 y 1962.
- 32.
Santos Melgarejo, Adriana. “La música en la radio oficial, 1973–1985. Prácticas discursivas en las emisoras radiofónicas estatales de Uruguay.” M.A. thesis. Universidad de la República (Uruguay). 2018, 23–27.
- 33.
R. Arturo Despouey, Marcha, 4 August 1939, 16.
- 34.
R. Arturo Despouey, Marcha, 29 December 1939, 14.
- 35.
Marcha, 20 October 1939, 3.
- 36.
Marcha, 9 April 1943, 11.
- 37.
Marcha, 3 November de 1939, 16.
- 38.
In a strict sense, “caló” refers to the less than homogeneous variety of Romani spoken in the Iberian Peninsula and France, although the word has acquired the general sense of jargon or slang, often with a negative connotation.
- 39.
Marcha, 9 May 1940, 12.
- 40.
It is evident that Brouta’s translation was not held in high esteem by Martínez Moreno. See Coll-Vinent in this volume.
- 41.
Marcha, 6 February 1942, 8.
- 42.
Marcha, 17 March 1944, 15.
- 43.
Marcha, 14 June 1946, 13.
- 44.
Marcha, 18 March 1949, 12.
- 45.
Marcha, 24 August 1951, 11.
- 46.
C.E.M. Joad, ed. Shaw and Society: An Anthology and a Symposium (London: Odhams Press, 1951), 4.
- 47.
Marcha, 15 de enero de 1954, 15.
- 48.
Carlos Martínez Moreno, “Difamación de G.B.S.,” Marcha, 4 November 1960, 12.
References
Caetano, Gerardo, and José Rilla. 2004. Historia Contemporánea del Uruguay. Montevideo: Fin de Siglo.
Despouey, R. Arturo. 1939a. ‘Pigmalión’, de Shaw. In Marcha I.7.
———. 1939b. Panorama cinematográfico. In Marcha I.28.
Huneker, James. 1922. Iconoclasts: A Book of Dramatists. New York: Scribner’s Sons.
Joad, C.E.M., ed. 1951. Shaw and Society: An Anthology and a Symposium. London: Odhams Press.
Martínez Moreno, Carlos. 1951. ‘El Soldado de Chocolate’ Una obra de Shaw. In Marcha XIII.599.
———. 1960a. Santa Juana, una prueba exorbitante. In Marcha XXI.1004.
———. 1960b. Difamación de G.B.S. In Marcha XXII.1033.
Mirza, Roger. 2000. Para una revisión de la historia del teatro uruguayo: desde los orígenes hasta 1900. In Uruguay, imaginarios culturales: desde las huellas indígenas a la modernidad, ed. Hugo Achugar and Mabel Moraña. Montevideo: Ediciones Trilce.
Molina, Denis. 1942. ¿Por qué dar semejante importancia al teatro? In Marcha IV.125.
n/a. 1939. Nueva pieza de Shaw. In Marcha I.20.
Paolini, Claudio. 2014. El teatro uruguayo y los pliegues del realismo. Montevideo: Delta.
Pellettieri, Osvaldo, and Roger Mirza, eds. 1998. Florencio Sánchez entre las dos orillas. Buenos Aires: Galerna.
Rodríguez Martín, Gustavo A. 2020. Shaw’s Ireland (and the Irish Shaw) in the International Press (1914–1925). In Bernard Shaw and the Making of Modern Ireland, ed. Audrey McNamara and Nelson Ritschell. Palgrave: Cham.
Rodríguez Monegal, Emir. 1944. ‘Bernard Shaw’, Frank Harris. In Marcha VI.225.
———. 1946. Pigmalión sin Bernard Shaw: ‘La bribona de armiño’. In Marcha VIII.334.
———. 1950. Inmortalidad de G.B.S. In Número 11.
———. 1954. Shaw Fabiano. In Marcha XV.704.
Sandahl, Pierre. 1943. Ironías de Bernard Shaw. In Marcha V.179.
Santos Melgarejo, Adriana. 2018. La música en la radio oficial, 1973–1985. Prácticas discursivas en las emisoras radiofónicas estatales de Uruguay. M.A. thesis. Universidad de la República (Uruguay).
SODRE. 1963. Servicio de Difusión Radioeléctrica, su organización y cometidos. Memoria de la labor realizada entre 1930 y 1962. Montevideo: El Servicio.
Verdoux (pen name of Mauricio Müller). 1951. Cuarteto Dramático. In Marcha XIII. 590.
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Mondino, C.P. (2022). Bernard Shaw’s Theatre in Uruguay (1930–1960). In: Rodríguez Martín, G.A. (eds) Bernard Shaw and the Spanish-Speaking World. Bernard Shaw and His Contemporaries. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-97423-7_9
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