La voz silenciadalas obras teatrales lorquianas censuradas en las dictaduras brasileña y española

Abstract

From a comparative perspective elaborated in the field of literary and historical relations between the Spanish and Brazilian military dictatorships, this research intends to analyze the procedures of censorship of the theatrical works of Federico García Lorca curtailed and/or proscribed in the two dictatorships: the Spanish one from 1939 to 1975, and the Brazilian one from 1964 to 1985. This research proposal is justified by the need to understand how they were censored and what motivated the two states to control the theatrical works of the Spanish author. This question is fundamental for Spanish and Brazilian literary studies, since in Brazil there is no depth research on the subject. It should be noted that the Brazilian dictatorship began on March 31, 1964, with the military coup and ended on January 15, 1985, with the election of Tancredo Neves in Congress. The justification for the coup by the military at the time was that there was a communist threat in the country. In Spain, the military dictatorship began in 1939, after the Civil War and the loss of power by the Second Republic, and ended in 1978 with the proclamation of a democratic Constitution. In this context, the study intends to discuss, firstly, the consensus that censorship is used by totalitarian governments as a way of controlling and maintaining power in the horizon of indoctrinations, within the interests of restricting the dissemination of ideas that contradict or put in doubt the sources of its legitimacy. Second, it intends to show that censorship was a device implemented in all means of communication and it acted incisively in artistic, literary and cinematographic productions in order to maintain the status quo, as a form of government that wants to replicate not only social, but controllable states of consciousness. Finally, it also intends to elucidate what were the censorship mechanisms and their functioning and side effects in the analyzed texts. In this regard, the silence imposed during the long years of Franco's dictatorship and during the Brazilian dictatorship was crucial for cultural production to be directly affected in its productions and under censorship surveillance, to contribute in a forceful way to the dissemination of the ideals of the two governments and the mutilation and curtailment of works considered dangerous, at least heterodox. However, many works that passed under the censorship sieve, somehow tried to circumvent the censorship process.