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Journal articles on the topic 'Spanish playwrights'
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1
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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Javed, Muhammad. "A Study of Elizabethan Period (1558-1603)." IJOHMN (International Journal online of Humanities) 6, no. 2 (April 21, 2020): 65–86. http://dx.doi.org/10.24113/ijohmn.v6i2.174.
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In this study, the researcher has mentioned the writers and their major works in Elizabethan age (1558-1603). The researcher has mentioned almost nineteen writers and their famous works. By reading this research paper, any general reader can easily understand that who are the major writers of the age and what are their famous works. The language and method of presenting the data are very easy. The researcher also has mentioned the major contributions of this era’s writers. As we know that University Wits also fall in this era, thus the researcher has mentioned them and their works too. S. Dutta (2014) declared that The University Wits is a phrase used to title a group of late 16th-century English pamphleteers and playwrights who were studied at the universities Cambridge and Oxford. They appeared famous worldly writers. This era has reminisced for its richness of drama and poetry. This era ended in 1603. Elizabeth turns out to be one of the greatest prominent royals in English history, mainly after 1588, when the English beat the Spanish Armada which had been sent by Spain to reestablish Catholicism and defeat England. All the way through the Elizabethan age, English literature has changed from a shell into a delightful being with imagination, creativeness, and boundless stories. It was not about mystery or miracle plays and the poetry was not nearby religion and the principles addressed in the Church.
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Fernández, Alicia González. "Juan Mayorga, spanish dramaturgist, national theatre premium." Cuadernos Iberoamericanos, no. 3 (September 28, 2018): 27–29. http://dx.doi.org/10.46272/2409-3416-2018-3-27-29.
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A playwright just like cartographe, cannot be neutral. Cartographer’s job consists in looking, selecting and representing on a map. A playwright does the same: looks, selects what to talk about and represents it on the stage.
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Martínez Navarro, María del Rosario, and Alejandro Ramos Iglesias. "La controversia sobre la corte en el teatro breve de Luis Vélez de Guevara: dramaturgo y sujeto literario." Philologia hispalensis 2, no. 33 (2019): 31–49. http://dx.doi.org/10.12795/ph.2019.v33.i02.03.
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Moore, Jason Kendall, and Consuelo León Wöppke. "The frozen continent: an Antarctic play." Polar Record 44, no. 3 (July 2008): 277–78. http://dx.doi.org/10.1017/s0032247408007717.
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ABSTRACTThis one-act play was recently presented at an Antarctic workshop held at Universidad Marítima de Chile, Viña del Mar, Chile. Apart from being entertaining, it provided an example of how theatre can be used to generate or reinforce interest in polar studies. The script has been translated from Spanish by the playwright.
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Ogaltsev, A. S. "PECULIARITIES OF COMPREHENSION OF CHEKHOV’s WORKS IN SPAIN." Bulletin of Udmurt University. Series History and Philology 30, no. 6 (December 11, 2020): 1072–77. http://dx.doi.org/10.35634/2412-9534-2020-30-6-1072-1077.
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The article deals with the process of comprehension of A.P. Chekhov's works in the Spanish culture. It’s based on Russian and foreign sources. The author of the article demonstrates the most significant moments in the understanding of the Russian writer by Spanish literary critics, theater directors and film directors. The article contains a brief overview of key periodicals and books, plays and film adaptations that illustrate the evolution of comprehension of Chekhov's works. Citations of Spanish culture figures, critics, translators and journalists are given by author's translation from their works and interviews. The article illustrates the period from the first mention of Chekhov's name in the Spanish press in 1894 to the nowadays. The author pays special attention to the first screen versions of the Russian playwright’s plays and the most eccentric experimental staging in the capital and provincial theaters of Spain.
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Fernández, José Francisco. "‘Minister of Horses’: Samuel Beckett according to Fernando Arrabal." Journal of Beckett Studies 24, no. 2 (September 2015): 223–41. http://dx.doi.org/10.3366/jobs.2015.0138.
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This study takes the form of a chronicle of the life-long friendship between Samuel Beckett and Spanish playwright Fernando Arrabal. First, the circumstances in which they became acquainted will be explored. Then, that streak of irreverent humour shared by both writers will be discussed, especially in relation to their interest in Surrealism. Following this, the Spaniard's opinions on Beckett's partner, Suzanne Deschevaux-Dumesnil, will be considered. Finally, Arrabal's trial for blasphemy in 1967 is examined in detail, including Beckett's letter in his defence.
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Berta, Tibor. "Lusismos o arcaísmos castellanos sobre la lengua de los dramas castellanos de Gil Vicente." Acta Hispanica 13 (January 1, 2008): 57–74. http://dx.doi.org/10.14232/actahisp.2008.13.57-74.
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Gil Vicente (1465-1536), Portuguese poet, composer and playwright is a significant figure of both Portuguese and Spanish literary history, as, in accordance with the traditions of his era, he wrote in both languages. What is more, Gil Vicente often used different languages in the same play. Many researchers, linguists, philologists and literary theorists call our attention to the fact that the language of the plays written by the author in Spanish is permeated with his Portuguese mother tongue. However, the definitive separation of phonetic, grammatical and lexical elements which can be interpreted as the result of this interference, and the determination of the ratio of these elements is made difficult by the fact that a significant part of these coincides with archaic or dialectal Spanish forms. In the paper, the author examines the vocabulary of the plays written by Gil Vicente in Spanish, and arrives at the conclusion that—in case the author actually made a conscious use of the languages known by him as a sign of refinement—it is possible that the elements which are hard to classify have to be considered forms used with conscious intention to reach an archaic or dialectic effect instead of simple Portuguese forms.
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Kiss, Tamás Zoltán. "Lope entre voz y silencio." Acta Hispanica 17 (January 1, 2012): 61–70. http://dx.doi.org/10.14232/actahisp.2012.17.61-70.
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The principal goal of this essay is to deliver study materials for the interpretation of the prescriptive norms regulating the dramatic text in the early modern age. Without entering the debate on the„ spectrum and transcendence of the cataegories 'acotación' and 'didascalia', special attention will be paid to the playwright's role in the case of one of the most important creators in Spanish Baroque Drama, Félix Tope de Vega Carpió, who was born about 450years ago, in 1562, in order to go into detail about the readers' complex interactions between production and reception of a written drama and theatricalperformance.
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Watkin, Thomas Glyn. "Legal Education and the Welsh Language." Legal Information Management 1, no. 1 (2001): 54–56. http://dx.doi.org/10.1017/s1472669600000293.
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The adjacent quotation is from Gwyn Thomas (1913–1981), the Anglo-Welsh novelist and playwright, who fulminated against the revival of Catalan with a force which is scarcely comprehensible, despite the fact that Spanish, or perhaps one should say Castilian, was his preferred choice of language both to learn at school and at Oxford, and later to teach. The force of his invective becomes explicable however when one remembers that he lived at a time when the Welsh language was starting to be just the sort of ‘first-class nuisance’ which he chided Catalan for being, and was about to commence a similar sort of revival.
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Laslavíková, Jana, and Beatriz Gómez-Pablos Calvo. "Conveyance of the Dramatic Work El Gran Galeoto by José Echegaray to the European Scene and His Reception in Bratislava at the End of the 19th Century." Slovenske divadlo /The Slovak Theatre 66, no. 4 (December 1, 2018): 335–47. http://dx.doi.org/10.2478/sd-2018-0020.
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Abstract This study looks at the work of Spanish playwright José Echegaray and the circumstances of his domestication on the European theatre stages at the turn of the 20th century. One of his most important works, El gran Galeoto55, arrived in Bratislava in 1889, only one year after its premiere in Vienna and three years after the opening of the new building of the Bratislava City Theatre. The premiere of the work, translated into German and in a theatrical adaptation from Paul Lindau’s pen named Galeotto took place around the same time as the premiere of the work Ralph William from the domestic author Josef Julian, which thanks to a similar theme was perceived as «Bratislava’s Galeotto».
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Rodríguez Herrera, José Manuel. "Shakespeare’s Legal Wit: Evolution of the Translation of Shakespeare’s Legal Puns into Spanish from the 20th to the 21st Century." Revista Alicantina de Estudios Ingleses, no. 28 (November 15, 2015): 165. http://dx.doi.org/10.14198/raei.2015.28.09.
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Shakespeare was law-obsessed and used a considerable amount of law terminology in his plays and sonnets. Though the use of legal terminology was frequent and extended in Elizabethan drama, Shakespeare’s handling of such technical language was particularly accurate and imaginative. It being a highly litigious age, Tudor audiences were well acquainted with a wide assortment of legal terms and concepts, and therefore in a position to enjoy the clownish characters’ (Launcelot, Gobbo, Pompey, etc.) malapropisms and legal puns. However, what applies to the Tudor audience of those days does not necessarily apply to audiences from other cultures and across different ages of Shakespearean reception. In this study, we look at the question of whether the reception of Shakespeare in the Spanish-speaking world coincides with the established image of the Poet as a playwright and poet who knew how to handle the many subtleties of the legal terminology with ease and grace. Much of this image has been diluted as a consequence of ‘loose’ renderings in Spanish translations. With reference to legal imagery, malapropisms, or legal ‘puns’ in particular, many a translation fails to adequately render the corresponding legal overtones in the target text. After a brief overview of Shakespearean translations into Spanish over the centuries, this study focuses on the evolution of the translation of Shakespeare’s legal puns into Spanish through the works of three translators starting with Leandro Fernandez de Moratín’s early 20th century renderings, Manuel Ángel Conejero’s version in 1995, and finally Ángel Luis Pujante’s recent edition of Shakespeare’s comedies and tragicomedies. The paper concludes by problematizing such strategies in the context of “law-worthy” translations as opposed to “stage-worthy” ones.
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al-Khawaldeh, Samira, Soumaya Bouacida, and Moufida Zaidi. "Othello’s ‘Travailous History’." Critical Survey 33, no. 3-4 (September 1, 2021): 141–54. http://dx.doi.org/10.3167/cs.2021.33030413.
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This article aims to relocate Shakespeare’s Othello the Moor in the cultural roots of Moorish Spain, arguing that he is not a Moor in the inclusionary, monolithic sense of the term, but a diasporic Iberian finding refuge in fifteenth–sixteenth-century Venice. It seeks to contextualise Shakespeare’s play by setting the Othello/Iago binary as an epitomisation of the Spanish inquisition. Giving Othello, the Moor of Venice an allegorical reading against its historical background facilitates better perception of the play’s motivational dynamics: why a Moor? And why such extreme enmity? To substantiate the argument, textual and contextual factors, such as characters’ appellations and the Moorish refugee’s ‘royal siege’, are viewed from a different perspective, factors designed to direct the mind towards specific realities, already visible to the playwright’s audience.
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Baldwin, Oliver. "Medea is a Good Boy: performing, subverting, and unmasking tragic gender." Classical Receptions Journal 12, no. 4 (September 27, 2020): 486–501. http://dx.doi.org/10.1093/crj/claa012.
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Abstract In 1981, the Spanish playwright Luis Riaza published the play Medea es un buen chico (Medea is a Good Boy). In it, two male actors perform the main roles of Medea and the Nurse, who comment, with references to other fictional love stories, on the relationship between Medea and Jason. When Jason fails to arrive, the fiction is dismantled, revealing Medea’s identity as Jason’s rejected homosexual lover. Medea es un buen chico mixes elements of performativity, meta-theatricality, and myth in order to explore the limits of gender, sexuality, and the perceived social roles and norms they entail. This article explores how Riaza theatrically reflects on the social performativity of gender through the tragic character and story of Medea, her performance and subversion of her own gendered self, and her eventual rejection and social displacement.
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Bulat, Snežana. "The play of Lola Montes: Dramatic vision by Todor Manojlović." Bastina, no. 51 (2020): 77–93. http://dx.doi.org/10.5937/bastina26999.
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Lola Montes (Marie Dolores Eliza Rosanna Gilbert) is a dominant heroin of Todor Manojlović's drama Fascinated king: historical movie in seven pictures with intermezzo. Manojlović is one of the many writers who have dedicated a piece to the fatal Lola Montes, whose dance adorned stages of the European cities. Having a great faith on authentic historical data, our playwright has created a drama portrait of the Spanish dancer who seduced Bavarian king Ludwig I and became his mistress and the very important political figure. It has been shown, on adequate examples, that the game and adventure are, without a doubt, the essential components of the Manojlović's drama character. Special research attention is given to the symbol of Lola's Spanish dance. Manojlović's Lola Montes is seductive, with great temper, coquettish, cunning, stunning young woman, the bearer of the new political ideas and a cause of many confrontations. The aged and fascinated king Ludwig I gives this woman a palace, title of countess and eventually he is forced to abdicate. The very important segment of this paper is given to the precise analysis of the scene where Lola Montes and king Ludwig are completely ignore the reality and leave their minds to the fairy-tale game and enjoy in the imaginary roles. The way of Todor Manojlović portraying the femme fatale has also been analyzed.
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DE WITTE, BEN. "Historicizing the ‘Traveling’ Queer Theatricalities of González Castillo's Los Invertidos." Theatre Research International 40, no. 1 (February 6, 2015): 79–82. http://dx.doi.org/10.1017/s0307883314000595.
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Los Invertidos (1914) by the Argentinean playwright José González Castillo (1885–1937) is probably the first play in the Spanish-speaking world to treat ‘sexual inversion’ – code for homosexuality in turn-of-the-century European sexology – as material for the modern stage. A three-act drama realista (‘realist drama’) that sets out to present ‘sexual inversion’ in a recognizably Argentinean setting and idiom, Los Invertidos demonstrates, as Edward Said puts it, that ‘ideas and theories’ – in this case about modern drama and sexuality – ‘travel’. González Castillo launched queer visibility on the Argentinean stage with dramatic models and embodied behaviours forged from international and local sensibilities. I argue that Los Invertidos, while shaped by sociopolitical and aesthetic upheavals in the Southern Cone, invites us to place its theatricality in a queer ‘genealogy of performance’ that crosses geographic and linguistic boundaries. How we describe and contextualize queer theatre today might well be informed by González Castillo's innovations and confusions during modern drama's early decades.
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Cantero García, Víctor. "Del dominio de los fundamentos de la comedia de buenas costumbres a la práctica exitosa: Contigo pan y cebolla (1833) de Manuel Eduardo de Gorostiza." Literatura Mexicana 32, no. 1 (January 20, 2021): 69–95. http://dx.doi.org/10.19130/iifl.litmex.2021.1.26853.
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Until now, eighteenth-century Spanish theater scholars and critics have considered Manuel Eduardo de Gorostiza (1789-1857) a minor playwright. In the present collaboration we intend to demonstrate that such an assertion does not conform to the truth. Through a contrastive study between El señorito mimado (1787) by Tomás de Iriarte and Contigo pan y cebolla (1833) by Gorostiza, we mean to show that the latter one became a renowned author of comedies of good manners on his own merits and not for being a mere follower of the guidelines of the neoclassical comedy established by Nicolás Fernandez de Moratín and consolidated by Tomás de Iriarte. In essence, the contents and arguments set forth in this article are clear evidence that Gorostiza conceived comedies that achieved a public and critical acclaim and made him worthy of occupying a relevant position both among the enlightened liberals of Hispanic origin as well as among the authors of comedies of good manners.
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Pérez Jiménez, Manuel. "La teoría teatral como auxiliar de la Literatura Comparada: aspectos del expresionismo en "Hinkemann" (de Ernst Toller) y en "El Tintero" (de Carlos Muñiz)." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 15-17 (February 26, 2011): 579. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.200415-1728.
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Este trabajo pretende realizar una aportación a la literatura comparada desde el campo de la teoría teatral. La hipótesis del mismo viene dada por la adscripción de El tintero, pieza del autor español Carlos Muñiz estrenada en 1961, a los principios teóricos y compositivos desarrollados por el Expresionismo en el teatro alemán de las primeras décadas del siglo XX. Para ello se lleva a cabo una aplicación de las teorías teatrales expresionistas al análisis comparado entre la obra de Muñiz y la pieza Hinkemann, escrita por el dramaturgo alemán Ernst Toller entre 1921 y 1922. Adoptando como objeto específico del estudio el modo de configuración de las obras (constituido, en el teatro expresionista, por el género de la tragedia), se definen la entidad de los agonistas y las dimensiones del proceso trágico. En las conclusiones, las dos obras analizadas aparecen como supradramas expresionistas, por ser representaciones de conflictos entre lo esencial humano y lo suprarreal deshumanizador . This essay aims to contribute to comparative literature, working from the field of drama theory. Its hypothesis is that El tintero, by the Spanish playwright Carlos Muñiz and performed for the first time in 1961, adheres to the theoretical and creative principles formulated by the Expressionism of the early decades of 20th Century German drama. An application of Expressionist dramatic theories is carried out in the comparative analysis of Muñiz’s play and Ernst Toller’s work Hinkemann (written by the German playwright in 1921-22). The paper focuses on the composition of the plays (constituted in Expresionist drama by the genre of tragedy) and it includes a description of the entity of the agonists and the dimensions of the tragic process. The conclusion suggests that both plays are Expressionist supradramas, as both are representations of conflicts between essential humanity and supra-real dehumanization.
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DiNapoli, Russell. "Fragile Currency of the Last Anarchist: the Plays of Maxwell Anderson." New Theatre Quarterly 18, no. 3 (August 2002): 276–83. http://dx.doi.org/10.1017/s0266464x02000350.
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Maxwell Anderson's plays have been overshadowed in the American and world theatre, alike by the canonical post-war writers of the succeeding generation and by writers such as Clifford Odets and Thornton Wilder of his own, who are felt to be more representative of the prevailing mood. Russell DiNapoli argues that it was Anderson's very atypicality which merits his reconsideration. As a playwright, he steadfastly kept to his own ideological course while influenced at the same time by the changing fashions which made for success on Broadway – the resulting creative tensions having both positive and negative effects on his contemporary as on his posthumous reputation. A New Yorker, Russell DiNapoli took his Master of Fine Arts degree in Theatre at the University of California, Los Angeles, and his doctorate in Philology at the Universidad de Valencia, Spain, where he is currently a member of the Department of English and German. He has written and directed several plays in Valencia, where he has lived since 1977, the most recent being a Spanish adaptation of the Prologue in Maxwell Anderson's Key Largo.
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Saleh, Sabrine. "Mothers and Sons: Representing Motherhood in Blood Wedding and Mother Courage and Her Children." International Journal of English Language Studies 4, no. 7 (July 30, 2021): 01–04. http://dx.doi.org/10.32996/ijels.2021.3.7.1.
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This paper examines the representation of the mother figure in two modern tragedies, namely Blood Wedding (1932) by the Spanish dramatist Federico García Lorca and Mother Courage and Her Children (1939) by the German playwright Bertolt Brecht. The paper sheds light on the binary representation of maternity in both plays. Hence, it highlights how the mother figures are depicted as traditional, “natural” mothers who are caring and overprotective but simultaneously contradict the traditional mother archetype, rendering themselves “bad mothers.” It shows that the mothers sacrifice their motherhood or maternal love for the sake of the other side of the binary which is traditions, honor, and revenge in the case of the Mother in Blood Wedding whereas business and capital in the case of Anna Fierling in Mother Courage and her Children. Eventually, the other side of the binary, which is not motherhood, wins. To achieve its purpose, the paper examines the mother-son relationship in Blood Wedding as well as the mother-son and the mother-daughter relationship in Mother Courage and Her Children.
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GRABER, NAOMI. "Kurt Weill'sThe River Is Blue: “Film-Opera” and Politics in 1930s Hollywood." Journal of the Society for American Music 11, no. 3 (August 2017): 313–53. http://dx.doi.org/10.1017/s1752196317000232.
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AbstractIn early 1937, Kurt Weill and playwright Clifford Odets collaborated on a Spanish Civil War film that they hoped would lead to a new kind of political–musical picture. Originally titledThe River Is Blue, the film was eventually released in 1938 asBlockadewithout the involvement of either Odets or Weill, but recently uncovered archival material of the abandoned project reveals new facets of Weill's musico-dramatic thought. The discovery of Odets's first draft of the screenplay shows an extraordinarily close collaboration between composer and screenwriter as the shot numbers in the script align exactly with numbers in Weill's score. Read together, these two documents show Weill attempting to combine different paradigms of film scoring that were popular in the 1930s. There are moments of typical Golden Age–style scoring with mickey-mousing and leitmotifs, but there is also evidence of older practices such as the use of popular songs. Weill's score also displays the influence of the Popular Front, elements of Eisensteinian montage, and anti-Wagnerianism. These show Weill working toward what he termed “film-opera,” not a filmed version of an opera but an entirely new genre that combined elements of musical theatre and movies.
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Colomina Molina, Teresa. "Metáforas y evocaciones en los títulos de las obras teatrales de Angélica Liddell." Imafronte, no. 27 (December 11, 2020): 1–10. http://dx.doi.org/10.6018/imafronte.459581.
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En este artículo se analiza el significado de los títulos de las obras de teatro más representativas de la dramaturga española, directora y actriz Angélica Liddell. Basándonos en una metodología de estudio de caso se analizan algunos de los títulos comprendidos desde el año 1991 hasta el 2018 desde una perspectiva hermenéutica. Cada uno de los títulos es tomado como pequeñas unidades de información, siendo analizados y clasificados en cinco apartados principales (relaciones interpersonales,contexto sociopolítico, rebeldía, muerte y familia). Estas temáticas configuran el universo de la escritora y adquieren unlenguaje propio y dimensionado al margen del texto dramático que encabezan. This article analyses the meaning of the titles of the most representative plays of the spanish playwright, director and actress Angélica Liddell. With a case study methodology, some of the titles from 1991 to 2018 are analyzed from a hermeneutic perspective. Each of the titles is taken as small units of information, and have been analyzed and classified in five main sections(interpersonal relations, socio-political context, rebellion, death and the family). These themes configure the writer's universe and acquire its own language and a new dimension apart from the dramatic text they lead.
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Barnes, Peter. "On Class, Christianity, and Questions of Comedy." New Theatre Quarterly 6, no. 21 (February 1990): 5–24. http://dx.doi.org/10.1017/s0266464x00003936.
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Peter Barnes was born in 1931, and has been writing for the theatre since 1963: but he remains resolutely uncommercial, and enjoys even among enthusiasts an essentially cult following – though this includes Terry Hands, who directed his most recent work to reach the stage. Red Noses, for the RSC at the Barbican in 1985. The Ruling Class, his ‘baroque comedy’ on the British aristocracy and the ways it exercises power, helped to bring him the John Whiting Award in 1968 and the Evening Standard award as most promising playwright of 1969, though many found his ‘neo-Jacobean’ portrait of a sublimely insignificant Spanish monarch. The Bewitched, an even richer work when it reached the Aldwych under Hands's direction in 1974. Laughter, half-set in Auschwitz, followed at the Royal Court in 1978. In between, Barnes proselytizes enthusiastically for Ben Jonson, on whom he wrote for NTQ11 (1987), but makes most of his living from writing screenplays, and as a radio dramatist – notably in his occasional but long-running sequence of monologues. Barnes's People. As a near-contemporary, NTQ co-editor Clive Barker began this interview by discussing Barnes's own background, and talks also with the dramatist about his distinctive themes, beliefs, and working methods. Peter Barnes's Collected Plays to date have recently been published by Methuen.
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Tévar Angulo, Juan Miguel. "José Tamayo: la búsqueda desde el exterior de una estética innovadora para la escena española de posguerra (1949-1951)." Epos : Revista de filología, no. 28 (January 1, 2012): 195. http://dx.doi.org/10.5944/epos.28.2012.12271.
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Entre los años 1949-1951 José Tamayo con su Compañía Lope de Vega emprende una gira por siete países americanos. Durante su estancia en América mantiene relación con los exiliados españoles y en especial con el Catedrático de Ciencias Sociales de la Universidad de Rio Piedras, en San Juan (Puerto Rico), Alfredo Matilla Jimeno, antiguo militante de Izquierda Republicana. Durante el periplo americano se configura una buena parte de la estética teatral de José Tamayo, que a su regreso a España estrena La muerte de un viajante de Arthur Miller. El dramaturgo norteamericano concede los derechos de representación para España por la influencia y credibilidad de los amigos del Catedrático.Between the years 1949-1951 José Tamayo with his Company Lope de Vega takes a tour of seven South American countries. During his stay in America maintains relationship with the Spanish exiles and especially with the Professor of Sciences Social of the University of Rio Piedras, San Juan (Puerto Rico), Alfredo Matilla Jimeno, former member of Republican left. The American journey is set to a large part of the theatrical aesthetics of José Tamayo, who on his return to Spain opens The death of a salesman by Arthur Miller. The American playwright grants representation rights for Spain by the influence and credibility of the friends of the professor.
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Gámez García, María del Mar Gámez. "La violencia contra la mujer en el teatro de Federico García Lorca = Violence Against Women in the Theatre of Federico García Lorca." Cuestiones de género: de la igualdad y la diferencia, no. 14 (June 27, 2019): 333. http://dx.doi.org/10.18002/cg.v0i14.5805.
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<p><strong>Resumen</strong></p><p>Este trabajo se propone examinar los diferentes tipos de violencia contra la mujer que es posible encontrar en el teatro de Federico García Lorca con el propósito de ofrecer una nueva visión sobre el conjunto de su obra teatral basada en esta temática y en la relación entre sus personajes femeninos y masculinos desde una perspectiva contemporánea. Otro de los objetivos de este trabajo será abordar las causas que podrían haber llevado al dramaturgo granadino a abordar este asunto. El estudio del tema de la violencia contra la mujer en la obra de García Lorca nos permitirá reflexionar sobre las causas, manifestaciones y dimensiones de la violencia machista tanto en la sociedad patriarcal de su época como en las sociedades actuales.</p><p><strong>Abstract</strong></p><p>This paper examines the different types of violence against women in the theatre of Federico García Lorca with the aim to offer a new vision of this topic and of the relationship between his female and male characters in his theatrical works from a contemporary point of view. Another of the purposes of this article will be to analyze the possible causes that could have led the Spanish playwright to deal with this topic in most of his plays. The study of the topic of violence against women in the theatre of García Lorca will allow us to reflect on the causes, manifestations, and dimensions of misogynist violence in the patriarchal society of his time, as well as on our current societies.</p>
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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.
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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.
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Barros Ochoa, María. "Traducción de caractónimos en la obra de William Shakespeare." Estudios Humanísticos. Filología, no. 14 (December 1, 1992): 113. http://dx.doi.org/10.18002/ehf.v0i14.4265.
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<p>Este estudio intenta abordar el problema de la traducción de los denominados «caractónimos» (nombres propios literarios, cuyo significado caracteriza al personaje) en la obra de Shakespeare. Para ello, y dado lo extenso de la producción literaria del dramaturgo inglés, se analizan solamente aquellos ejemplos más representativos. Se tomó como base la traducción de Luis Astrana Marín, unico traductor de la obra completa de Shakespeare, y a partir de ella se realizaron comparaciones con las versiones de otros traductores (Víctor Ruiz Iriarte, R. Martínez Lafuente, Jaime Clark, Mario del Alamo, José A. Márquez, Enrique Llovet, Adolfo R. Varela, José Méndez Herrera, y la realizada conjuntamente por M. A. Conejero, J.V. Martínez Luciano y J. Talens). Los caractónimos seleccionados fueron clasificados en tres grupos, según el procedimiento utilizado en su trasvase al español: conservación de la forma original, adaptación fonológica y traducción. Del análisis efectuado se desprende que la mayor parte de las versiones conservan los caractónimos en su forma original, sin ninguna aclaración sobre su significado, privando así al lector español de la carga de humor contenida en dichos nombres.</p><p>This paper deals with the problem of the translation of charactonyms (literary names which define their bearers) in Shakespeare's work. Since this playwright's literary production is so large, only the most representative examples were analysed. The translation by Luis Astrana Marín was taken as a basis, as it is the only one which covers the whole work, and it was compared with the versions by other translators (Víctor Ruiz Iriarte, R. Martínez Lafuente, Jaime Clark, Mario del Alamo, José A. Márquez, Enrique Llovet, Adolfo R. Varela, José Méndez Herrera, and M.A. Conejero, J.V. Martínez Luciano and J. Talens). The charactonyms selected were classified into three groups, according to the transfer technique used: conservation of the English form, phonological adaptation and translation. The analysis showed that most translators maintain the English charactonyms in their original forms and do not say anything about their meanings. Thus the Spanish reader is deprived of the humorous connotations present in such names</p>
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Lomask, Laurie. "Leer a Vallejo desde Valle-Inclán." Archivo Vallejo 1, no. 1 (November 29, 2018): 11. http://dx.doi.org/10.34092/av.v1i1.19.
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Este trabajo explorará las conexiones entre César Vallejo y Ramón María del Valle-Inclán (1866-1936), novelista, dramaturgo y poeta español. Ya se ha notado que Vallejo se inspiró en uno de los versos de Valle-Inclán para el título de su novela, Fabla salvaje (1923). Sin embargo, la conexión entre estos dos escritores es aún más profunda. Basándose en el uso del esperpento, expuesto en la obra de teatro Luces de bohemia (publicada por primera vez en 1920, y en versión definitiva en 1924), se hará una comparación con los textos teatrales de Vallejo, en particular con su obra Entre las dos orillas corre el río (comenzada en 1930 bajo el título Moscú contra Moscú) y varias colecciones de tratados sobre el valor y la función del teatro. En los dos autores el esperpento, efectivamente, representa la dificultad de evolucionar entre generaciones, de transicionar entre el pasado y el futuro. Mientras en Valle-Inclán los personajes sufren físicamente para superar el plano ético, en Vallejo vemos que lo físico y lo ético no se separan, sino que profundizan la complejidad del existir en el tiempo. Tanto en el arte como en la política, el progreso se ve limitado por las condiciones físicas que inscriben y demarcan toda experiencia humana.
ABSTRACTThis paper explores the connections between Cesar Vallejo and Ramon Maria del Valle-Inclan (1866-1936), Spanish novelist, playwright and poet. So far, we have seen that Vallejo was inspired by one of the verses of Valle-Inclan for the title of his novel, Fabla salvaje (‘Wild Fabla’, 1923); however, the connection between these two writers is even deeper. Based on the use of the esperpento ‘grotesque’, exposed in the work of Luces de bohemia (‘Lights of bohemia’) first published in 1920 and in final version in 1924, there will be a comparison with the theatrical texts of Vallejo, in particular with his work Entre las dos orillas corre el río (‘Between the Two Shores Run the River’), started in 1931, and several collections of treaties of theater’s value and function. Both authors represent esperpento, as a difficulty of evolving between generations, of transition between the past and the future. While in Valle-Inclan’s characters suffer physically to overcome the ethical plane, in Vallejo, the physical and ethical planes are not separated, but that deepens the complexity of existing in the time. Progress is limited by the physical conditions that register and draw all human experience in art and politics.
Keywords: grotesque, distortion, physical body, theater, Valle-Inclan.
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Jiménez Aguilar, Miguel Ángel. "Puestas en escena de obras de dramaturgas en la cartelera de Málaga (2000-2003)." Signa: Revista de la Asociación Española de Semiótica 23 (January 1, 2014). http://dx.doi.org/10.5944/signa.vol23.2014.11745.
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Este artículo trata sobre las dramaturgas que representaron en los teatros de Málaga de 2000 a 2003. De cada una de ellas ofrece una breve reseña de su vida y su producción dramática, el lugar, la fecha y el ciclo del que formó parte la obra que fue representada, así como un resumen de su contenido. Las autoras aparecen por orden alfabético de apellido en diferentes grupos: españolas, hispanoamericanas y dramaturgas en otras lenguas.This article talks about the women playwrights that appeared in theatres in Málaga from 2000 to 2003. Each one of them offer a brief overview of their lives and their dramatic production, the place, date and cycle which formed part of their presented play as well as a summary of its contents. The women playwrights appear in alphabetical order of surname in different groups; Spanish, Latin-American and women playwrights of other languages.
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Lo Porto, Valeria Maria Rita. "Puestas en escena de obras de dramaturgas en la cartelera de ABC de Madrid (1990)." Signa: Revista de la Asociación Española de Semiótica 21 (January 1, 2012). http://dx.doi.org/10.5944/signa.vol21.2012.6309.
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El objetivo de este artículo es constatar y estudiar las piezas de autoría femenina representadas en los teatros de Madrid a lo largo de 1990, aparecidas en el periódico ABC del mismo año. Intentaremos trazar la incorporación de las dramaturgas, tanto españolas como extranjeras, a la escena teatral para establecer los logros que han alcanzado dentro de la producción escénica contemporánea.The aim of this essay is to find and study the works of women playwrights represented in the Madrid’s theatre scene throughout 1990 and appeared in the newspaper ABC. We will try to trace the incorporation of women playwrights, both Spanish and foreign, to the theatre scene to establish the achievements they have attained in the contemporary stage production.
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Torre Rodríguez, Ricardo de la. "Autores y textos teatrales electrónicos (en castellano) del teatro español contemporáneo." Signa: Revista de la Asociación Española de Semiótica 23 (January 1, 2014). http://dx.doi.org/10.5944/signa.vol23.2014.11738.
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En el marco de la relación entre teatro y las nuevas tecnologías, una de las líneas de investigación llevadas a cabo en el Centro de Investigación de Semiótica Literaria, Teatral y Nuevas Tecnologías (SELITEN@T: http://www.uned.es/centro-investigacion-SELITEN@T/), el propósito de este artículo es realizar una aproximación a los autores del teatro español contemporáneo y a los textos completos en versión electrónica de sus obras (en castellano), disponibles para la lectura y descarga gratuita desde las páginas en red de los propios autores. Otras páginas seleccionadas completan y proporcionan al investigador o al lector de teatro una visión general de estos autores con los títulos de sus producciones, ordenados alfabéticamente.On the relation between theatre and new technologies, one of the lines of research carried out at the Research Center of Literary and Theatrical Semiotics and New Technologies (SELITEN@T: http://www. uned.es/centro-investigacion-SELITEN@T/), the purpose of this article is to present an approach to the contemporary Spanish playwrights and the full-text electronic version of their plays (in Spanish), available for free reading and downloading from the own authors’ websites. Some other selected sites also complete and provide the research worker or just the play reader with an overview of these authors with the titles of their productions, listed alphabetically.
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López-Terra, Federico. "Un teatro refundacional: la construcción identitaria en la reapertura democrática. La producción final de Francisco Nieva." Signa: Revista de la Asociación Española de Semiótica 23 (January 1, 2014). http://dx.doi.org/10.5944/signa.vol23.2014.11748.
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El presente trabajo se propone el estudio la última etapa de la producción del dramaturgo Francisco Nieva. Largamente desatendida por la crítica, su puesta en relación con la «semiótica del cambio» que signó a la España de los años 80 permite arrojar nueva luz sobre esta producción.This article seeks to show the interrelation between the latest plays of the Spanish playwright Francisco Nieva and the so-called «semiotic of change» that characterised 80s Spain. This study intends to shed some new light over this overlooked production and demonstrate its internal coherence.
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Fernández Suárez, María Yolanda. "From Translations to Traducciones: Challenges and Strategies." ABEI Journal 20, no. 1 (September 23, 2018). http://dx.doi.org/10.37389/abei.v20i1.3109.
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When researching how hedge schools were represented in literary sources, I realized Brian Friel's depiction in Translations had become the most iconic. Even though he is regarded as a major Irish playwright, whose work has been translated into several languages, hardly any of his plays could be found in Spanish. Therefore, bringing together my interests in Irish and translation studies, I took the opportunity to render this seminal play into the Spanish language with the purpose of making Friel more widely available. When contemplating the work ahead, I was not unaware of the challenges posed by the linguistically complex nature of Translations, shown in its very title. However, soon other less obvious difficulties emerged, like the translation of some Irish cultural elements. Last but not least, some features of orality, related to the intrinsic nature of drama translation, were also challenging. While addressing these issues, I aimed at giving readership the impression that the text had originally been written in Spanish.Keywords: Brian Friel; Translations; Traducciones; Literary Translation.
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Caballero González, Manuel. "Apuntes a Ino y Temisto de Francisco Comella." Analecta Malacitana. Revista de la sección de Filología de la Facultad de Filosofía y Letras 38, no. 1 (March 14, 2018). http://dx.doi.org/10.24310/analecta.v38i1.4349.
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RESUMEN: La única tragedia del dramaturgo español Luciano Francisco Comella titulada Ino y Temisto trata el mito de Atamante. Si bien en muchos puntos se mantiene fi el a la tradición mítica de esta saga, como se ve en la imagen que ofrece de Ino y de Temisto, en otros temas se aparta sustancialmente de la tradición clásica e incorpora nuevos datos a la rica historia de esta leyenda. Un análisis de estas divergencias y de los principales temas tratados en esta representación ayuda a comprender mejor la recepción del mito de Atamante en el teatro español del s. XVIII.ABSTRACT: Ino y Temisto, the only tragedy of the Spanish playwright Luciano Francisco Comella, deals with the myth of Athamas. Although Comella is faithful to many details of the story, as can be seen in the image of Ino and Themisto, he differs considerably from the classical tradition and incorporates new material into the rich history of this legend. An analysis of these differences and of the main issues of the play helps us to understand better the reception of Athamas’ myth in Spanish theatre of the eighteenth century.
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Perni Llorente, Remedios. "El año de Ricardo and the Degeneration of Europe." Grove - Working Papers on English Studies, no. 22 (December 16, 2015). http://dx.doi.org/10.17561/grove.v0i22.2702.
Full textAbstract:
El año de Ricardo is the title of Angelica Liddell’s take on William Shakespeare’s Richard III. Through both her rewriting and mise en scène, the irreverent Spanish playwright and performer presents Shakespeare’s infamous character as a prototype of an overambitious, ruthlessly cynical monster, a foul, appalling brute. Ricardo stands for Hitler and for all the villains. (S)he is a baroque spectre, an anamorphic presence which pushes the limits and transforms across time, evolving from a top executive to a president; from a wannabe writer to a doctorate honoris causa. Ricardo’s body undergoes a degenerative process and so does his/her cynical behaviour. Perverse capitalism speaks through Ricardo, a clear embodiment of the corrupt. In this sense, the villainy of Richard III, via Liddell, has been compared to corruption scandals which have occurred in Spain. As a matter of fact, premiered in 2005, the play has been repeatedly onstage since the financial crisis was announced, probably because it provides an opportunity to criticise the people and policies at the heart of the meltdown. This paper focuses on the Shakespearean motifs that build Liddell’s play, paying special attention to the anachronistic twists that serve the purpose of revealing Richard/Ricardo’s degeneration in a degenerate Europe.Keywords: William Shakespeare, Angélica Liddell, performance, appropriation, theatre, European crisis.