Relevant bibliographies by topics / Spanish playwrights

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  2. Dissertations / Theses
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Academic literature on the topic 'Spanish playwrights'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Spanish playwrights"

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MACIAS, I. "THE UNEASY POLITICISATION OF SPANISH WOMEN PLAYWRIGHTS AND THEIR THEATRE." Forum for Modern Language Studies XXXV, no. 3 (July 1, 1999): 286–96. http://dx.doi.org/10.1093/fmls/xxxv.3.286.

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Brizuela, Mabel. "The Theatre: A Place of Memory." European Review 22, no. 4 (September 26, 2014): 623–31. http://dx.doi.org/10.1017/s1062798714000416.

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This article looks at the question of transnational memory in the work of contemporary Spanish playwrights, Juan Mayorga and Antonio Álamo. It analyses and interprets the theatrical devices employed by each playwright respectively and the construction of a poetics of memory. It then goes on to consider the multidirectional potential of the intertextual references to other authors, histories and events – most notably the Holocaust – in plays of Mayorga and Álamo. It is via these intertextual engagements that the plays confront the limits, or (im)possibility of representation and it argues that the authors dive into a vast network of European memory, which in turn serves as a ‘screen’ for the memory of Spanish people, as it throws light on the Civil War and Francoist Spain. Thus, experiences such as Stalinism, the Holocaust, and the Warsaw ghetto become icons of a transnational memory that places the reader/spectator in the position of co-participant in an introspective exploration designed to unsettle.
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Ragué, Maria-José. "Women and the Women's Movement in Contemporary Spanish Theatre." New Theatre Quarterly 9, no. 35 (August 1993): 203–10. http://dx.doi.org/10.1017/s0266464x00007922.

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The problems confronted by most women's theatre in reaching its own constituency and, when desired, gaining a wider hearing have been exacerbated in Spain by the long period of emergence from the Franco dictatorship, with its legacy of oppression. In this article, Maria–José Ragué offers an overview of the subject, outlining the historical context and exploring the work of women playwrights, then looking in particular at women's theatre groups based in Barcelona, at whose university she teaches theatre history. Maria–José Ragué is also a theatre critic and a playwright, having published Clytemnestra and Crits de gavina in Catalan and Gaviotas, lagartijas y mariposa in Spanish. Among her research she has published, in Catalan, The Feminine Characters of Greek Tragedy in Twentieth-Century Catalan Theatre (1990), and, in Spanish, The Feminine Characters of Greek Tragedy in Twentieth-Century Galician Theatre (1991). Her Themes of Greek Tragedy in Spanish Contemporary Theatre is also in print. She is currently completing a book about women and theatre in contemporary Spain, and beginning work on a study of African ritual theatre. Marias-José Ragué was born in Barcelona in 1941, and has always lived in her home town except between 1968 and 1970, when she lived and studied in Berkeley.
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Bagdasarova, Anna A. "A man in a digital age: Digital world interpreted in J. Campos García’s theatre." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 118–27. http://dx.doi.org/10.18522/2415-8852-2020-1-118-127.

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The article conceptualizes the problem of the place and the role of technology in the life of humanity and its significance in today’s society. The analysis is based on the plays written in the 2000’s by Jesus Campos Garcia, one of the most beloved modern Spanish playwrights. Campos Garcia’s theatre is always closely linked to relevant socio-cultural problems and represents the playwright’s comprehensive introspection towards how specific the influence of modern technology – primarily digital technology – on modern life is; his self-consciousness. An exemplary work in this respect is his existential drama “Naufragar en Internet” (1999) followed by Campos Garcia’s essay “La tecnología como metáfora” (2004), in which, early into the era of active computerization he addresses the questions of the correlation between the real and the virtual; the influence of technology on everyday life and the opening up of possibilities; the existential fears and aspirations of humanity – the fear of non-existence, thirst for immortality, etc. – reflected in modern technology. The present topic is further developed in the playwright’s later works (“d.juan@simetrico.es” 2008; “...y la casa crecía”, 2016).
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Torrisi, Valentina. "Puestas en escena de obras de dramaturgas en la cartelera de ABC de Madrid (2006-2009)." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 1453. http://dx.doi.org/10.5944/signa.vol28.2019.25128.

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Este artículo es un comentario sobre las piezas de autoría femenina que se representaron en los teatros madrileños recogidos en la cartelera de ABC de Madrid durante los años 2006-2009. El trabajo, inserto en las actividades del Centro de Investigación de Semiótica Literaria, Teatral y Nuevas Tecnologías (SELITEN@T), dirigido por el profesor José Romera Castillo, se centra en la presentación de las dramaturgas, tanto españolas como extranjeras, y de ºsus obras, con el objetivo de establecer los logros que han alcanzado dentro de la producción escénica contemporánea en la capital de España.This essay is a commentary on the plays written by women playwrights and performed at the theatres of Madrid in the Madrid ABC’s Billboard in 2006-2009. The work, included in the agenda of the Centro de Investigación de Semiótica Literaria, Teatral y Nuevas Tecnologías (SELITEN@T), led by professor José Romera Castillo, focuses on the presentation of Spanish and foreign women playwrights, and their work, with the aim of assessing the achievements they reached within the contemporary stage production of the Spanish capital.
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Tarlinskaja, Marina. "Kyd and Marlowe’s Revolution: from Surrey’s Aeneid to Marlowe’s Tamburlaine." Studia Metrica et Poetica 1, no. 1 (April 22, 2014): 9–27. http://dx.doi.org/10.12697/smp.2013.1.1.02.

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The Early New English iambic pentameter was re-created by Wyatt and Surrey in the first half of the 16th c. Surrey introduced blank iambic pentameter into English poetry, and the first English tragedy, Gorboduc, was written in this versification form. Early New English playwrights were feeling their way into the iambic meter, and wrote “by the foot”: the mean stressing on even syllables reached 90 percent, while on the odd syllables it fell to 5 percent. The authors of first new English tragedies were members of the parliament or the gentlemen of the City Inns, and they wrote for the aristocratic audience and the Court. Their subject matter and their characters matched the verse form: they were stiff and stilted.Marlowe and Kyd represented a new generation of playwrights who wrote for the commercial stage patronized by commoners. Marlowe and Kyd created different sets of plots and personages and a different versification style. Marlowe’s Tamburlaine and Kyd’s The Spanish Tragedy had a powerful impact on generations of English playwrights, from Shakespeare to Shirley. The particulars of the Earlier New English versification style compared to later Elizabethan dramaturgy are discussed in the presentation.
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Coello Hernández, Alejandro. "El monólogo como práctica dramatúrgica feminista en los años ochenta: el ejemplo de Maribel Lázaro (La fosa y La defensa)." Clepsydra. Revista de Estudios de Género y Teoría Feminista, no. 19 (2020): 43–61. http://dx.doi.org/10.25145/j.clepsydra.2020.19.03.

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The visibility and recognition of Women playwrights in Spanish theater did not occur until the eighties after the conquests of feminist movements. For that reason, women playwrights explore in their works new ways of thinking about subjectivity. The monologue provides them with a way of exploring themselves and with a form of engaged theater. This textual corpus is studied in this article in a global way in order to contextualize feminist dramaturgies and in particular the dramatic proposals of Maribel Lázaro, who in 1986 wrote two monologues La fosa [The pit] and La defensa [The defense]. Therefore, we analyze the terminological problem around the concept of «monologue». Moreover, we reflect on the dramatic structure in which the denunciation, self-recognition and negation of the discourse of the female character coexist in a paradox that opens the path to a consolidation of the feminist theater in Spain.
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Zamorano, Susana Lorenzo. "Avant-Garde Metatheatre: The Case of Spanish Women Playwrights at the Turn of the Century." Bulletin of Hispanic Studies 79, no. 3 (September 2002): 325–35. http://dx.doi.org/10.3828/bhs.79.3.5.

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Cull, John T. "The Emblematic Exemplum in Agustín Moreto y Cabaña and Other Golden Age Playwrights." IMAGO. Revista de Emblemática y Cultura Visual, no. 9 (January 31, 2018): 151. http://dx.doi.org/10.7203/imago.9.10596.

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ABSTRACT: Taking as a point of departure Juan de Horozco's definition: «las emblemas se pueden hazer con figuras solas, como es más ordinario o con figuras y letras que siruan de mote, y esto es, porque la emblema quanto más guardare las propiedades de la empresa tanto será mejor según yo entiendo y juzgara qualquiera» (f. 64v), this study analyzes the presence and function of dramatic emblems in the plays of Agustín Moreto y Cabaña and other Spanish Golden Age Dramatists. It postulates that the poetic images, derived in many instances from emblem books, function as exempla in order to comment on the dramatic situation. The dramatic emblems are divided into two main groups: «marked emblems and «unmarked emblems». KEYWORDS: Agustín de Moreto; argumentum emblematicum; dramatic emblems; exempla. RESUMEN: Partiendo de la definición de Juan de Horozco de que «las emblemas se pueden hazer con figuras solas, como es más ordinario o con figuras y letras que siruan de mote, y esto es, porque la emblema quanto más guardare las propiedades de la empresa tanto será mejor según yo entiendo y juzgara qualquiera» (f. 64v), este estudio pretende analizar la presencia y función de emblemas dramáticos en las comedias de Agustín Moreto y Cabaña y otros dramaturgos del Siglo de Oro. Se postula que las imágenes poéticas derivadas de libros de emblemas funcionan como exempla para comentar la situación dramática. Los emblemas dramáticos se dividen en dos grupos generales, los «emblemas marcados» y los «emblemas sin marcar». PALABRAS CLAVES: Agustín de Moreto; argumentum emblematicum; emblemas dramáticos; exempla.
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Gaviña-Costero, María. "Brian Friel in Spain: An Off-Centre Love Story." Estudios Irlandeses, no. 16 (March 17, 2021): 110–24. http://dx.doi.org/10.24162/ei2021-10074.

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Spanish theatres are not prolific in the staging of Irish playwrights. However, the Northern Irish writer Brian Friel (1929-2015) has been a curious exception, his plays having been performed in different cities in Spain since William Layton produced Amantes: vencedores y vencidos (Lovers: Winners and Losers) in 1972. The origin of Friel’s popularity in this country may be attributed to what many theatre directors and audiences considered to be a parallel political situation between post-colonial Ireland and the historical peripheral communities with a language other than Spanish: Catalonia, the Basque Country and Galicia; the fact is that the number of Catalan directors who have staged works by Friel exceeds that of any other territory in Spain. However, despite the political identification that can be behind the success of a play like Translations (1980), the staging of others with a subtler political overtone, such as Lovers (1967), Dancing at Lughnasa (1990), Molly Sweeney (1994), Faith Healer (1979) and Afterplay (2001), should prompt us to find the reason for this imbalance of representation elsewhere. By analysing the production of the plays, both through the study of their programmes and interviews with their protagonists, and by scrutinising their reception, I have attempted to discern some common factors to account for the selection of Friel’s dramatic texts.
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Dissertations / Theses on the topic "Spanish playwrights"

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Kennedy, Cecilia Jeanette. "Space and Place in the Out-of Doors settings of the Farsas Y Eglogas by Lucas Fernandez, Spanish Playwright (1474-1542)." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1364218236.

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Kennedy, Cecilia Jeanette. "Space and place in the out-of-doors settings of the Farsas Y Églogas by Lucas Fernández, spanish playwright (1474-1542) /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488202171195372.

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Books on the topic "Spanish playwrights"

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Litovsky, Haydee. Sephardic playwrights of the seventeenth and eighteenth centuries in Amsterdam. Lanham, Md: University Press of America, 1991.

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Guiding the plot: Politics and feminism in the work of women playwrights from Spain and Argentina, 1960-1990. New York: P. Lang, 1996.

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Witte, Ann. Guiding the plot: Politics and feminism in the work of women playwrights from Spain and Argentina, 1960-1990. New York: P. Lang, 1996.

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Nardo, Don. Miguel de Cervantes: Novelist, poet, and playwright. Minneapolis, Minn: Compass Point Books, 2008.

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Juana Inés de la Cruz. The divine Narcissus =: El divino Narciso. Albuquerque: University of New Mexico Press, 1998.

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A patron and a playwright in Renaissance Spain: The House of Feria and Diego Sánchez de Badajoz. London: Tamesis Books, 1987.

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Guillermo Schmidhuber de la Mora. The three secular plays of Sor Juana Inés de la Cruz: A critical study. Lexington: University Press of Kentucky, 2000.

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Euripides. Hippolytus: The bacchae. San Diego, CA: ICON Classics, 2005.

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Euripides. Ippolito. Milano: C. Signorelli, 2004.

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Euripides. Hippolytus. Stutgardiae: Teubneri, 1994.

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Book chapters on the topic "Spanish playwrights"

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Pavesio, Monica Pavesio. "Gli Avis au lecteur delle comédies (e tragi-comédies) à l’espagnole: spunti per la definizione di un nuovo genere?" In Studi e saggi, 41–58. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.5.

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It is well known that in France the Spanish comedy is not considered a model to be imitated, yet, reading the peritexts (dédicace, avis au lecteur, épître) of the 17th Century French adapters and comparing the imitations with the sources, we can see attitudes that are not always connected to preconceived ideas about the superiority of génie français, both in the consideration that the playwrights reveal towards contemporary Spanish plays, and in their way of adapting them. After outlining the duration and extent of the phenomenon of the seventeenth-century comédie à l'espagnole, the study analyzes the pièces and the peritexts, following two paths: the first investigates the real knowledge and opinion that the French dramatists had of Spanish dramaturgy; the second reconstructs and analyzes the translation methods that, in their forewords, the adapters claim they want to use to make Spanish theatrical texts usable in France, and which they often disregard in their pièces.
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Michelassi, Nicola. "Didascalia comica." In Studi e saggi, 475–92. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.29.

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The first part of this paper consists of a theatre play written specifically for the international congress El teatro Español en Europa and performed on that occasion by the Segugi theatre company. The play stages the generational and poetic conflict between two seventeenth-century Florentine playwrights: the tragedian Girolamo Bartolommei (1584-1662) and his son, the comedian Mattias Maria (1640-1695). Girolamo, contrary to the innovations of modern comedy and the mixture of tragic and comic, dedicated in 1658 a treatise entitled Didascalia comica to Mattias in which he sought to bring his son to traditional positions; nevertheless, Mattias became a leading exponent of that new Spanish imitation comic theatre that, since the times of Giacinto Andrea Cicognini (1606-1649), had found in Florence a fertile place of reworking and diffusion. The second part offers a critical note on the historical issues illustrated in the pièce.
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Alejandro, García Reidy. "El licenciado Francisco de Rojas, enmendador barroco de manuscritos teatrales." In La edición del diálogo teatral (siglos XVI-XVII), 87–112. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-224-9.05.

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This paper focuses on the figure of the graduate Francisco de Rojas, a minor playwright from the first half of the seventeenth century who is better known for copying several theatrical manuscripts and, above all, for the presence of his handwriting in dozens of other manuscripts. The objectives of this paper are to contextualize his activity as a copyist, to systematize the nature of his interventions in the dialogues of the plays, and to point out the—often silent—influence that Rojas’ amendments have had in several editions of early modern Spanish plays for over a century.
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Orosa, Miguel A., Viviana Galarza-Ligña, and Ana Culqui-Medina. "The Post-dramatic Indigenous Communication in Latin America (Ecuador, Peru, Bolivia, Colombia) and Its Comparison with That of Europe and Spain. The Case of Some Latin American/Spanish and European Playwrights, and the Differences Between Both Dramatic Worldviews." In Advances in Intelligent Systems and Computing, 279–88. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68418-1_27.

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Lombardi, Marco. "Dal Desdén di Moreto ai Plaisirs di Molière." In Studi e saggi, 59–76. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.6.

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In 1664 Molière and his troupe played in the gardens of Versailles, in front of the Sun King, La Princesse d'Elide a rewriting of the Desdén con el Desdén by Moreto. As Maria Grazia Profeti pointed out in her writings, Genette's analysis still allows, after some time from the critical works of the critic, to avoid the ever-present and threatening obstacles of moral, formal or aesthetic value judgements accompanied by the more or less declared idea of superiority or inferiority of an author or a culture and dramaturgy. Entering the Molierian laboratory, after having highlighted how much the French hypertext owes to its Spanish hypotext, the essay tries to recontextualize the pièce within the Royal Festivals of the Plaisirs de île enchantée also in the light of the reception of contemporaries: wearing virtually the spectacles of a spectator of the time, and taking into consideration the transvalorizations carried out by the French playwright, he also tries to grasp the meaning that the Molierian play may have assumed for the Sovereign and the public in the context of the political and sentimental biography of the King of France at that chronological height.
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Williamsen, Amy R. "Women Playwrights." In The Routledge Research Companion to Early Modern Spanish Women Writers, 186–202. Routledge, 2017. http://dx.doi.org/10.4324/9781315612904-13.

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"Spanish Plots and Spanish Stereotypes by Restoration Women Playwrights." In Beyond Spain's Borders, 81–104. Routledge, 2016. http://dx.doi.org/10.4324/9781315438801-12.

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Blom, Frans. "Enemy Treasures : The Making and Marketing of Spanish Comedia in the Amsterdam Schouwburg." In Literary Hispanophobia and Hispanophilia in Britain and the Low Countries (1550-1850). Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989375_ch04.

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The establishment in 1638 of Amsterdam’s first public theatre venue, the Schouwburg, caused a major enhancement and upgrading of local stock repertory. Spanish comedia was the new fuel. With Lope’s drama first, Spanish plays and playwrights were brought to the Schouwburg stage in a serial production. Crowds gathered for anything Spanish, and Spain’s victory over Dutch theatre life was complete even before the war was over in 1648. The paradox of Spain’s triumph in the heart of Dutch culture is centre stage in this contribution, exploring both the transfer route through Amsterdam’s Sephardic community, which facilitated so much successful import of enemy treasures, and analysing the public presentations that framed the Spanishness of the plays and playwrights as a new trademark for the Amsterdam crowds.
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Budasz, Rogério. "Foundations." In Opera in the Tropics, 7–62. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190215828.003.0002.

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This chapter examines the conventions of Iberian theater with music from the mid-sixteenth to the early eighteenth century, as they surface in written sources and theatrical practices primarily related to Brazilian contexts. It presents an overview of the main theatrical genres, character types, and standard plots and the basic structure of theatrical functions, as well as the role of music in Jesuit autos and tragédias, religious oratorios, and secular comédias and entremezes. The chapter discusses the pedagogical function of musical theater in the early colonial period and the use of Latin, Spanish, Portuguese, and indigenous languages in these plays. It also examines the work of Brazil-born aficionados and playwrights in Europe and their role in the development of music-dramatic arts in Brazil and abroad.
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"Introduction: The Rise of Casuistry in Spain, the Flowering of Jesuit School Drama, and the Jesuit Education of Spanish Playwrights." In Conscience on Stage, 1–37. Toronto: University of Toronto Press, 2007. http://dx.doi.org/10.3138/9781442684218-002.

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