Resumen
El binomio caballo-toro figura de manera omnipresente en el imaginario ibérico desde la prehistoria hasta la actualidad, a través de múltiples expresiones artísticas. Con todo, la antropología ibérica parece revelar dos ontologías: la española vs la lusitana. Por un lado, el teatro Marialva acompaña el nacimiento del fado en Portugal y la glorificación del torero a caballo (propio del arquetipo de San Jorge); por otro, la pintura de Picasso magnifica el torero de muleta. Estas dos manifestaciones reflejan dos realidades de la tauromaquia: una tauromaquia nobiliaria vs una tauromaquia plebeya. Sendas expresiones artísticas ponen de relieve la problemática de la cuaternidad, esto es, del simbolismo de la totalidad y de la quintaesencia.
Palabras clave: Fado, Picasso, Arte ecuestre, Tauromaquia, Semiótica, Marialva
Abstract
The pairing of horse and bull has been a pervasive motif in Iberian imagery that has recurrently appeared in multiple artistic manifestations from prehistory to the present time. What Iberian anthropology reveals are two ontologies: the Spanish vs the Lusitanian. The Marialva theater, on the one hand, reproduces the birth of the fado in Portugal and the glorification of the bullfighter on horseback (connotative of the Saint George archetype), while the paintings of Picasso, on the other, enhance the figure of the torero de muleta. Both forms evoke the two 1 Carlos Pereira is a horseback rider, founder of the Institut du cheval et de l’équitation portugaise in Paris (2004), as well as of the MARIALVA equestrian theater (created in the Cirque Jules Verne of Amiens in 2016). He is also Associate Professor at the University of Paris III-Sorbonne Nouvelle and an etho-linguist at the Institute of Primatology in Kyoto. He specializes in interspecies forms of communication between humans and nonhumans, and in the study of horsemanship in Eastern and Western cultures (classic equestrianism, circus and equestrian theater).