Description
From the middle of the eighteenth century to the beginning of the next one, theatre was a mass phenomenon, becoming a social shaping tool for many Enlightenment philosophers. This conception led to a series of ethical and aesthetic controversies on the stage and its music through Hispanic and Portuguese territories. They took place in different spheres: political, religious, administrative and properly theatrical. Parallel to the above, identity symbols of what some people called “nations” were established in Iberian societies. This Ph.D. thesis focuses on the interrelation of scenic and identity events, paying special attention to the ambivalent role that Galician migrants played. To achieve this, genres such as the Spanish “tonadilla” or the Portuguese “entremez” are analyzed from an interdisciplinary and ethnosymbolistic perspective, in addition to the trips across the sea that Italian opera companies made until they reached the northwest of the Iberian Peninsula. For this purpose, primary sources were consulted in more than 35 archives and libraries located in cities such as Madrid, Lisbon, Coimbra, Porto, Santiago de Compostela or A Coruña, among others. Based on the research carried out, it is concluded that musical theatre not only reflected various collective identities, but also influenced their formation.
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