Esta tesis estudia la producción teatral de José Bergamín durante los años de su exilio, entre 1939 y su vuelta definitiva a España, en 1970. Aunque ese límite temporal será aún más breve, puesto que la primera obra dramática que publicó en el exilio aparece en 1944, mientras que la redacción de las dos últimas corresponde, aproximadamente, a 1956. Nuestro estudio aparece en dos volúmenes. En el primero de ellos hemos desgranado diversas cuestiones divididas en cuatro capítulos: "La producción teatral de Bergamín en el exilio", "Las ideas sobre el teatro y la preceptiva dramática de José Bergamín", "Rasgos generales de su teatro" y "Estudio particular de cada una de las nueve obras que componen el teatro en el destierro de José Bergamín". En el primer capítulo hemos realizado un recorrido cronológico sobre el "peregrinaje" de José Bergamín por tierras americanas y francesas para entender la relación personal de nuestro escritor con su producción dramática y relacionar mejor sus obras dramáticas con el resto de su labor literaria. En el segundo capítulo nos hemos preocupado por José Bergamín como teórico o "preceptista" del teatro. Resulta interesante comprobar cuál era el modelo ideal de obra escénica que poseía, así como su afán por llegar a representarlas ante un público lo más mayoritario posible, a pesar de que en la práctica este hecho no fuera posible. Por otro lado, sobre lo que realmente "ha quedado dicho" versa el tercer capítulo, donde recorremos las principales inquietudes, temas y recursos de las piezas dramáticas que escribió. El cuarto capítulo de esta tesis se centra en la aproximación individual a cada una de las nueve piezas que conforman la labor teatral de esta etapa, haciendo especial hincapié en el estudio de las fuentes o modelos previos a esos personajes y conflictos y que Bergamín adapta a su manera peculiar de ver la literatura y la vida, otorgando siempre un sesgo nuevo a una historia que podríamos "olvidar de puro sabida". En el segundo volumen hemos incluido las nueve piezas que escribió durante su exilio. Nos parecía importante incluir su edición como un apartado más de esta tesis por dos motivos fundamentales. En primer lugar, para facilitar su lectura, pues todas ellas resultan de difícil localización, diseminadas como están por otros países, y constreñidas a las ediciones limitadas de impresiones en revistas o publicaciones de pocos ejemplares. En segundo lugar, creíamos necesario ofrecer una edición anotada de estas obras como compensación a ese mismo abandono en que las mismas se encuentran. Por otro lado, al igual que ocurría con los estudios correspondientes, no hemos utilizado un molde idéntico para todas ellas, aunque siempre hemos anotado los guiños que Bergamín incluye respecto a otras obras suyas, así como aquellas citas literarias o alusiones históricas que hemos creído oportuno glosar o matizar. / Our dissertation studies the theatre plays which José Bergamín wrote theatre while he exiled from Spain, between 1939 and his definitive return to his country in 1970. However, this time span was actually shorter - from a literary point of view - since his first theatre play came out in 1944, whereas the lasts two were written in Paris in 1956. Our work appears in two volumes. In the first one, we have tackled a series of questions throughout four capitols: "Bergamín's dramatic production in exile", "Joss Bergamín's ideas about theatre and drama precepts Bergamín", "General aspects of his theatre" and "Particular study of each of the nine plays which make up the whole of Bergamín's theatre in the exile". In the first chapter we make a chronological description of Bergamín's travel around American and French in order to understand the personal relationship the writer and his dramatic production. In particular, we were able to study the connections between his theatre and the rest of his literary texts. In the second chapter, we considered Bergamín as theorist or "instructor in theatre precepts". It is interesting to know his ideal of a scenic opera, and how he endeavoured to have it represented for as large a public as possible, even if this could not be feasible. The third chapter deals with "what has actually been said". Here we describe the most important questions, themes and methods in his dramatic texts in exile. In chapter four, we study the literary sources or patterns, his dramatic persona and the conflicts that Bergamín takes and adapts to his view of life and literature, casting new light on the story that we could "olvidar de puro sabida". In the second volume, we include annotated editions of the nine plays he wrote in exile. There are two main reasons why we decided to do so: firstly because all these plays were published in different places and came out in limited editions of books and magazines from South American countries, which makes it very difficult to locate and read them; secondly, we thought it was necessary to provide an annotated of these texts, so that they became better known because we believe Bergamín himself and his theatre deserve some compensation for all the years of oblivion and obscurity to which they have been condemned. Finally, we have not used the same method of study in each edition. We have always included quotations about our author and his work - by other writer or by Bergamín himself - taken from other books, as well as historical allusions, sayings, popular songs or children's games.

Les philosophes de l’exil républicain espagnol appartiennent au camp des défenseurs de la Seconde république légitimement proclamée le 14 avril 1931, et plus largement, de la lutte anti-fasciste des années trente. Ils se trouvent au côté du "peuple" lors de la guerre civile, qui dure trois ans. La victoire en 1939 du Général Francisco Franco, soutenu par l’Allemagne nazie et par l’Italie fasciste, les forcent à fuir l’Espagne en 1939 – au péril de leur vie. Certains intellectuels connaîtront les camps de concentration français, mais la plupart trouveront refuge en Amérique latine, en particulier au Mexique et au Venezuela. En exil, ils jurent de rester fidèles à la Seconde république et à l’esprit du peuple espagnol. Ces philosophes appartiennent au camp des vaincus, à l’instar de tous ceux qui, mus par des idéaux progressistes et d’humanité, partout en Europe se sont élevés contre la barbarie fasciste. C’est pourquoi leurs œuvres respectives demeurent aujourd’hui encore inconnues dans leur quasi intégralité – malgré les tentatives de "récupération" menées tout au long des cinquante ou soixante dernières années pour promouvoir leur pensée auprès d’un lectorat plus large. Au contexte de crise historique de l’entre-deux guerres, s’ajoute la situation particulière de la philosophie espagnole proprement dite. En effet, celle-ci n’est institutionnalisée que dans le premier tiers du vingtième siècle : on voit alors apparaître l’École de Madrid et l’École de Barcelone. L’Espagne en ce sens rattrape le "retard" pris par rapport aux autres pays européens, notamment l’Allemagne. Aussi la génération des philosophes que j’étudie, nés autour de 1900, est-elle la première bénéficiaire de cette politique de renouveau culturel et intellectuel : au moment où éclate la guerre d’Espagne, ce sont des philosophes professionnels jouissant d’une reconnaissance internationale qui s’engagent dans le conflit. Par conséquent, l’oubli qui recouvre leurs noms n’est pas seulement dû aux dramatiques circonstances historiques et politiques de la première moitié du vingtième siècle : il est également dû aux limites de la philosophie dogmatique elle-même. L’expérience de l’exil elle-même, à mon sens, s’avère un catalyseur : ceux-ci visent à s’émanciper des conventions académiques pour philosopher de façon autonome, c’est-à-dire en espagnol et dans l’esprit du peuple. Cet idéal de liberté est à n’en pas douter à la source de la "raison poétique", véritable invention de l’exil républicain espagnol. / Spanish Republican philosophers in exile sided with the Second Republic, legally proclaimed on April 14, 1931. They embraced the anti-fascist cause rising in the 1920s and 1930s in Europe. During the Civil war they stood among the people. The war lasted three years. 1939 saw the victory of General Francisco Franco, supported by Nazi Germany and the Italy of Mussolini. Threatened with death, they had no choice but to escape Spain. Some intellectuals experienced French concentration camps but, for the most part, they found refuge in Latin America, especially in Mexico and Venezuela. In exile, they swore to remain loyal to the Second Republic and to the spirit of the Spanish people. These philosophers belonged to the vainquished, as those everywhere in Europe who, moved by liberal views and humane ideals rised against Fascist barbarity. As a result, their respective works are still widely unknown today – despite restless efforts made to promote their thought to a larger audience for over half a century. In addition to the historical context of crisis during the interwar period, the situation of Spanish philosophy itself is suggestive. Indeed, Spanish philosophy was institutionalised at the beginning of the twentieth century only ; the Schools of Madrid and Barcelona were created. In this sense, Spain caught up on other European countries, Germany especially. These politics of cultural and intellectual renovation are first bestowed upon the generation of philosophers I study, born in the 1900s. When the Spanish war erupts, they had become professionals of international recognition. This shows the actual limits of academic philosophy, incapable of taking or unwilling to accept unorthodox ways of philosophising. The experience of exile itself serves in my opinion as a catalyst : Spanish republican philosophers in exile seek emancipation from academic conventions to philosophise freely ; that is, in Spanish and according to the spirit of the people. No doubt "poetic reason" – the true invention of Spanish republican exile – stems from this ideal of autonomous thinking.

Spanish Republican philosophers in exile defended the Second Republic, legally proclaimed on April 14, 1931. They embraced the anti-fascist cause rising in the 1920s and the 1930s in Europe. During the Civil War, which lasted three years, they stood among the people. 1939 saw the victory of General Francisco Franco, supported by Nazi Germany and the Italy of Mussolini. Threatened with death, they had no choice but to escape from Spain. Some intellectuals experienced French concentration camps but, for the most part, they found refuge in Latin America, especially in Mexico and Venezuela. In exile, they swore to remain loyal to the Second Republic and to the spirit of the Spanish people. Moved by liberal views and humane ideals, these philosophers belonged to the vanquished, as those everywhere in Europe who rose against Fascist barbarity. As a result, their respective works are still widely unknown today – despite relentless efforts made to promote their thought to a larger audience for over half a century. In addition to the historical context of crisis during the interwar period, the situation of Spanish philosophy itself is suggestive. Indeed, Spanish philosophy was institutionalised at the beginning of the twentieth century only: the Schools of Madrid and Barcelona were created. These politics of cultural and intellectual renovation are first bestowed upon the generation of philosophers I study, born in the 1900s. When the Spanish War erupts, they had become professionals of international recognition. This shows the actual limits of academic philosophy, incapable of acknowledging unorthodox ways of philosophising. The experience of exile itself serves in my opinion as a catalyst: Spanish Republican philosophers in exile seek emancipation from academic conventions to philosophise freely; that is, in Spanish and according to the spirit of the people. No doubt “poetic reason” – the true invention of Spanish Republican exile – stems from this ideal of autonomous thinking.