L'univers artistique de Ramon del Valle-Inclan

• Auteur / Autrice : Anne Marillia
• Direction : Jean-René Aymes
• Type : Thèse de doctorat
• Discipline(s) : Études ibériques
• Date : Soutenance en 1990
• Etablissement(s) : Tours

Résumé

Valle-inclan fut l artiste de sa generation. Par lesdeux grands arts, musique et peinture, il voulut enrichir l ecriture. L influence de la musique ne se limite pas aux vertus melodiques de sa phrase. Son oeuvre offre aussi un fidele reflet de la vie musicale de la societe espagnole. Comme les modernistes il integre la musique au decor de la nature. Il utilise le vocabulaire technique, s inspire de la construction musicale ( leit-motiv ). Enfin il veut par le mircle musical des mots donner a l ecriture une plus haute albition spirituelle. L influence de la peinture est encore plus nette : l esthetique preraphaelite, l exaltation de la figure feminine s accordent avec une vision idealisee. De ces deux perceptions, audition et vision, decoule une large utilisation des synesthesies : phonisme et photisme enrichissent son style comment des limites de l art pour l art, en ce debut de siecle, il prend vers les annees vingt, un tournant decisif; il cree alors l esperpento inspire par goya. Derision, art du grotesque transforment les harmonies en dissonnance et les portraits en caricatures. Le laid, le difforme et le monstreux font irruption dans cet art de la brisure. Les synesthesies deviennent des tumultes d ombres et de lumieres. Dans les dernieres annees, une nouvelle tendance se dessine : une composition polytonale ou les acquis des deux grandes periodes se melent et s equilibrent dans cette harmonie des contraires qu il tenta toujours passionnement d atteindre.

Valle-inclan was the true artist of his generation. He tried to enhance writing by means of the two great arts, i. E music and painting. The influence of his music cannot be restricted to the melodie and rythmic qualities of the sentence his work authentically reflects the life of the spanish society. Like modernist artists, he integrates music into natural setting. He uses technical vocabulary, derives his inspiration from musical constructions (leit-motiv) and eventually, he attempts to assign a higher spiritual ambition to writing, through the musical miracle of words. The influence of painting is even stronger: the preraphaelite influence, the masters of the quattrocento, the extreme refinement go along with an idelised vision. The large use of synaesthesia is derived from those two great arts: phonism and photism both enhance his style, conscious as he is of the limits of art for its own sake, at the onset of the century, he takes a fundamentally different direction, he creates the esperpento inspired by goya. Derision, art of the grotesque turn his harmonies into dissonances and portraits into caricatures. Ugliness, deformity and even monstruosity emerge into that broken art. Synaesthetic images are changed into turmoils of light and shadows. At the end, a new tendency can be perceived: a polytonal composition in which these elements balance one another in such a harmony of oppositions as he always tried to reach.