Pelayo y el gran teatro del canon: los condicionamientos críticos de Unamuno dramaturgo según su recepción en América Latina

Abstract

This work presents a specific approach to Unamuno theatre plays, which consists in considering them as a
result arisen from certain canonical critic conditioning prescribed by the philologist Menéndez y Pelayo and that weighed
on some members of the `98 Generation. Latin American stagings attest the Unamuno´s dramatic project viability, considering that was in this continent where its work was accepted, whereas Spain always meant a somewhat hostile land for the
acceptance of theater productions based on Unamuno´s texts. The article, proposes to tie the reflection on the pioneering
work of Menéndez y Pelayo with the transformed concept of critic that appears in Unamuno, and to emphasize in that
passage the manipulation of the golden theater like original material of a literary canon not only politician but social. And
against this background, it is also possible to propose a concrete analysis of the Unamuno´s dramatics like the utopian
construction of a modern and experimental theater that picked up the popular bases of the baroque and resigned the
pantomime action without resigning to the word nor to the intellectual reflection, and that simultaneously managed to
register it among the canonical authors of the Spanish scene.