Procesamiento de la expresión estética en la cotidianidad de los personajes en El laberinto mágico de Max Aub

Abstract

Una multiplicidad de voces nos lleva por las calles desbordadas de bombardeos y miedo en El Laberinto Mágico. Y en medio del horror de la Guerra Civil española: el arte. La música sigue allí, las representaciones teatrales y las obras de Garcilaso y Unamuno. En la presente investigación rastreo cómo procesan los personajes el arte en su cotidianidad, cómo asimilan los espectáculos, la literatura y la integran en su vida diaria fragmentada por la guerra y por un régimen totalitario en ciernes.

El arte muta en una realidad de opresión, censura, muerte, silencios, se transforma. Lo mismo ocurre con la recepción estética. Los artistas toman dos caminos distintos: la resistencia o el silencio. En la primera vertiente nos encontramos con una literatura comprometida o engageé –que Aub repelía– y con una literatura crítica, no panfletaria, como testigo que retrata los tristes acontecimientos de la España de la primera mitad del siglo XX.

A través de este análisis, son visibles patrones que se repiten en la forma en que los personajes se aproximan a manifestaciones artísticas como obras de teatro, zarzuelas, cantos, poesía y pintura.

El presente análisis dedica un capítulo a cada novela de El Laberinto Mágico de modo que el orden de esta investigación es paralelo al desarrollo cronológico de los acontecimientos narrados en la hexalogía de Max Aub. Romper el frágil hilo que une a personajes y hechos resultaría en una desarticulación de una estructura narrativa de por sí laberíntica y caprichosa. En este análisis puede verse el deterioro progresivo de la realidad artística de la España de la Guerra Civil desde sus albores hasta bien entrada la posguerra. El presente análisis responde interrogantes como ¿Cómo conciben los personajes el legado pictórico y literario clásicos desde una República que se cae a pedazos? Las puestas en escena aubianas no son fruto del azar, y atar los hilos a lo largo de las seis novelas señala, tan solo, que el laberinto donde quedaron atrapados los artistas españoles de los años 30 no tiene salida. El hilo de Ariadna está atado a sí mismo.

A multiplicity of voices takes us through the streets filled with bombardments and fear in El Laberinto Mágico. And, in the middle of the Spanish Civil War’s horror: the art expressions. Music is still there, the plays are still there and the works of Garcilaso and Unamuno. In the current investigation I will track down how characters process art in their daily lives, how do they assimilate shows, literature and integrate them in that reality fragmented by war and by the arrival of a totalitary regime. Art transforms itself when it is produced in the middle of oppression, censorship, death, silences.

The same thing occurs with the aesthetic reception. Artists can only choose between two different paths: resistance or silence. The first possibility belongs to the commited or engageé literature –which Aub despises– and the critic literature that portrays the sad events that took place in the first half of the 20th century in Spain. Throughout this analysis, there are common patterns in the way the characters approach artistic manifestations such as plays, zarzuelas, chants, poetry and paintings. I will analyze one novel of El Laberinto Mágico on every chapter, so the reader can easily follow the chronology of the events narrated in Max Aub’s series. Breaking the fragile cord that connects facts and characters would dismember the narrative structure, already labyrinthic and capricious. In this analysis, we will see the progressive deterioration of the artistic reality of Spain during the Civil War from its start until the post war.

The current research will attempt to answer questions such as, how do characters conceive the artistic legacy of classic authors in that republic that is falling apart? What aesthetic interaction is there between readers that are submerged in a civil war and contemporary novels, and what symbols lie behind the scenes he chooses to describe in terms of aesthetic reception and ars poetica? Trying to connect the dots throught the six novels will make appear the labyrinth where the artists from the 30’s were trapped. Ariadna’s cord is tied to itself and there’s no way out.

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A multiplicity of voices leads us through the streets overflowing with bombings and fear in El Laberinto Mágico. And in the midst of the horror of the Spanish Civil War: art. The music is still there, the theater performances and the works of Garcilaso and Unamuno. In the present investigation I trace how the characters process art in their daily lives, how they assimilate shows, literature and integrate it into their daily life fragmented by the war and by a totalitarian regime in the making.

Art mutates into a reality of oppression, censorship, death, silences, it is transformed. The same goes for aesthetic reception. The artists take two different paths: resistance or silence. On the first side, we find a committed or engageé literature –which Aub repelled– and a critical literature, not pamphleteering, as a witness that portrays the sad events in Spain in the first half of the 20th century.

Through this analysis, patterns are visible that are repeated in the way in which the characters approach artistic manifestations such as plays, zarzuelas, songs, poetry, and painting.

The present analysis dedicates a chapter to each novel of El Laberinto Mágico so that the order of this investigation is parallel to the chronological development of the events narrated in Max Aub's hexalogy. Breaking the fragile thread that unites characters and events would result in a disarticulation of a narrative structure that is already labyrinthine and capricious. In this analysis, one can see the progressive deterioration of the artistic reality of Spain during the Civil War from its dawn until well into the postwar period. This analysis answers questions such as: How do the characters conceive the classic pictorial and literary legacy from a Republic that is falling apart? Aubian stagings are not the result of chance, and tying the threads throughout the six novels only indicates that the labyrinth where the Spanish artists of the 30s were trapped has no way out. Ariadne's thread is tied to itself.

A multiplicity of voices takes us through the streets filled with bombardments and fear in El Laberinto Mágico. And, in the middle of the Spanish Civil War's horror: the art expressions. Music is still there, the plays are still there and the works of Garcilaso and Unamuno. In the current investigation I will track down how characters process art in their daily lives, how do they assimilate shows, literature and integrate them in that reality fragmented by war and by the arrival of a totalitarian regime. Art transforms itself when it is produced in the middle of oppression, censorship, death, silences.

The same thing occurs with the aesthetic reception. Artists can only choose between two different paths: resistance or silence. The first possibility belongs to the committed or engaged literature –which Aub despises– and the critical literature that portrays the sad events that took place in the first half of the 20th century in Spain. Throughout this analysis, there are common patterns in the way the characters approach artistic manifestations such as plays, zarzuelas, chants, poetry and paintings. I will analyze one novel of El Laberinto Mágico on every chapter, so the reader can easily follow the chronology of the events narrated in Max Aub's series. Breaking the fragile cord that connects facts and characters would dismember the narrative structure, already labyrinthic and capricious. In this analysis, we will see the progressive deterioration of the artistic reality of Spain during the Civil War from its start until the post war.

The current research will attempt to answer questions such as, how do characters conceive the artistic legacy of classic authors in that republic that is falling apart? What aesthetic interaction is there between readers that are submerged in a civil war and contemporary novels, and what symbols lie behind the scenes he chooses to describe in terms of aesthetic reception and ars poetica? Trying to connect the dots through the six novels will make appear the labyrinth where the artists from the 30's were trapped. Ariadna's cord is tied to herself and there's no way out.