El repertorio del Ballet Nacional de España (1978-2018)Historia y caracterización de un legado cultural y artístico. Revisión, catalogación y análisis

Laburpena

This research, focused on the repertoire of the Ballet Nacional de España (BNE) from 1978 to 2018, has as its fundamental axis the elaboration of a catalogue that comprehensively collects the choreographic works premiered by the company during this period, thus filling a documentary void. In order to contextualize it, the first chapter briefly reviews the concept of choreographic repertoire, types and transmission, linking it to Spanish Dance and the recovery of its heritage. The second, describes what we understand by Spanish Dance and the different forms that make it up, as well as the birth of the genre called Spanish Ballet. Previous attempts to create a state-owned company in the 20th century are described below. In the third chapter, the report on the BNE in the period studied is articulated. It details previously unpublished data and documents about the genesis of the project. The description El repertorio del Ballet Nacional de España (1978-2018) 3 of the successive management stages, with an approach fundamentally linked to the repertoire, allows us to know briefly the history of the company and to explain the premiere of each work. The fourth chapter presents the catalogue, chronologically indexed by the release date in the BNE. Each of the 127 works that make up this repertoire, is shown through a file containing a specific taxonomy, made ad hoc. It answers questions about the origin of each piece (pre-existing or created at the BNE), details of the premiere (date, location, company and stage of management at the time), different authorships (choreography, music, costumes, set design, dramaturgy -script and stage direction- and lighting design) and characteristics (duration, narrative, number of performers, style the dance used and structure). It also includes the synopsis, dancers of the first performance at the BNE, a section with other information and the sources consulted. Chapter 5 includes a detailed analysis of the catalogue, with the diachronic, segmented and relational interpretation of the data presented in tables, as well as graphs that assist the quantitative part. The sixth chapter is dedicated to the review of the different catalogued authorships. It incorporates new perspectives regarding the choreographic and musical part. A considerable number of tables organize the data from the catalogue into sections, together with other interesting information on the various creators. These contributions can serve from different approaches as a source of reference for future research that delve into the repertoire of the BNE and Spanish Dance in general.