Persona: Llorens Cubedo, Didac
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Llorens Cubedo
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Publicación Reading T. S. Eliot. The Rose Garden and After (1930s–1950s)(Routledge, 2025-11-19) Llorens Cubedo, Didac; Patea, Viorica; Agencia Estatal de InvestigaciónIn “Burnt Norton”, the poetic speaker enters a rose garden, a space of envisioned timeless illumination. This experience sets in motion a spiritual quest, which will confer unity upon Four Quartets. For the poet himself, it inaugurates a creative phase (mid 1930s-late 1950s) that strengthens his sense of faith and community. Eliot, increasingly interested in playwriting, completed his meditative masterpiece (Four Quartets) while undertaking his ambitious project to revive verse drama. Devotion to drama reflects Eliot’s stronger social awareness, leading him to adopt popular forms: the pageant (The Rock), drawing-room comedy (The Cocktail Party, The Confidential Clerk, The Elder Statesman) and children’s literature (Old Possum’s Book of Practical Cats). As a critic, he widened his scope to write about social issues (The Idea of a Christian Society, Notes Towards a Definition of Culture). These aspects of Eliot’s career are influenced by concrete historical and biographical circumstances such as the impact of war and his ongoing relationship with Emily Hale, who played a decisive role as his muse, guide, and mentor in his newfound passion for the stage. Reading T. S. Eliot: The Rose Garden and After (1930s-1950s) presents original work by numerous scholars addressing these facets of Eliot’s writing.Publicación From Brutal to Spiritual Men in T.S. Eliot’s Poetry and Drama: Sweeney and Beyond(Palgrave Macmillan, Cham, 2023-03-08) Llorens Cubedo, Didac; Ministerio de Ciencia, Innovación y UniversidadesT.S. Eliot’s character Sweeney appears in the collection 1920, the long poem The Waste Land, and the play Sweeney Agonistes. He embodies two opposed aspects of masculinity: a brutal, threatening side associated with gender violence and a spiritual, mystical side. Because of this polar duality, Sweeney sums up most of Eliot’s male characters, including those in his early poems (Bleistein, the “young man carbuncular”) and in his later plays (Harry in The Family Reunion, or Colby in The Confidential Clerk). The study of these characters reveals a gradual detoxing of Sweeney’s masculinity, consisting in the attenuation of his brutality and the growth of his spirituality, which conditions later male characters in accordance with Eliot’s choice of illumination and purgation.Publicación The Cocktail Party and It’s a Wonderful Life: Crisis, Guardianship, and Rebirth(Liverpool University Press, 2022-10-17) Llorens Cubedo, DidacPublicación Destined to Hope or Remorse: T.S. Eliot, Francis Bacon, and Their Furies(University of Toronto Press, 2023-09-29) Llorens Cubedo, DidacThis article traces the relationship between the Furies as depicted in T.S. Eliot’s The Family Reunion (1939) and the work of painter Francis Bacon. Bacon’s Three Studies for Figures at the Base of a Crucifixion (1944) – a triptych depicting three grotesque amorphous creatures, which he identified with the Furies – was directly inspired by The Family Reunion, which in turn draws on Aeschylus’ The Eumenides. Eliot’s play not only generated a creative response by Bacon that inaugurated his characteristic style; crucially, it also led him to the Oresteia as a source of inspiration that would be pivotal for his later career. In the play, Eliot’s goddesses of retribution pursue Harry, who is said to have perpetuated a family curse by murdering his wife. The integration of the Furies into a modern play with a Christian background and their visual representation on stage are central challenges of The Family Reunion, as Eliot acknowledged. Bacon represented the Furies as monsters in Three Studies, a triptych that evokes Christian iconography linked to mythology. There are, however, essential differences between Eliot’s and Bacon’s approaches. In The Family Reunion, the Furies become salvific “bright angels” offering Harry an escape from his private hell, whereas in Bacon’s representations, they remain monsters or birds of ill omen that never bring hope. Eliot eventually came to consider his Furies a dramatic failure, recommending they be invisible on stage and subsequently adhering to realism in his drama; for Bacon, the Furies became recurrent images of horror and guilt, haunting but inspirational.Publicación T. S. Eliot. Teatro completo(Visor Libros, 2023-01-01) Llorens Cubedo, Didac; Gibert Maceda, María Teresa; Financiado por el Ministerio de Ciencia, Innovación y UniversidadesT.S. Eliot (1888-1965) sigue siendo reconocido como uno de los grandes poetas del siglo XX. Deslumbró con sus primeros poemarios (Prufrock y otras observaciones, Poemas) y revolucionó la misma noción de poesía con La tierra baldía, bandera de las vanguardias. Como crítico y editor, priorizó la objetividad y la impersonalidad artísticas, contribuyendo a forjar los gustos y percepciones estéticas de su tiempo. A partir de su adhesión al anglocatolicismo y durante las décadas convulsas que desembocaron en la Segunda Guerra Mundial, evolucionó hacia lo que podríamos denominar «mística moderna» (Miércoles de ceniza, Cuatro cuartetos). Hacia el final de su carrera, deseoso de dar una mayor repercusión social a su poesía, la trasladó a los escenarios. Interesado en el teatro desde siempre, Eliot se entregó a su nueva faceta de dramaturgo con humildad, pero con la aspiración de acuñar una poesía dramática genuinamente moderna para un público contemporáneo. Su teatro en verso tuvo un éxito considerable durante las décadas de los treinta y los cuarenta, con obras como La piedra (publicada ahora, en su versión completa, por primera vez en español), Asesinato en la catedral, Reunión familiar o El cóctel. En los cincuenta siguieron dos comedias (El secretario particular y Un político venerable) que confirmaban la apuesta de Eliot por un teatro comercial. La obra dramática de Eliot transita, sin perder la coherencia de una visión del mundo crítica y trascendente, por terrenos tan distintos como la recreación histórica, la evocación del teatro clásico, la comedia de salón y la farsa. Las nuevas traducciones, introducciones y notas de esta edición la reivindican en su singularidad, variedad y capacidad de sorprender. El teatro de Eliot, injustamente olvidado, representa la continuación de la imaginación poética y el compromiso moral de un poeta imprescindible que se volvió «hombre de teatro» en una época de transformaciones fascinantes en las artes escénicas, en un período fronterizo de transición de lo moderno a lo posmoderno.