De la oscuridad confusa

Revue Romane ◽  
2018 ◽  
Vol 53 (2) ◽  
pp. 335-351
Author(s):  
Carlos F. Cabanillas Cárdenas
Keyword(s):  
Golden Age ◽  
Francisco De Quevedo ◽  
Spanish Golden Age ◽  
The North ◽  
Luis De Gongora

Resumen / Summary In this article, I study the use of Norway as a poetic symbol in Spanish Golden Age poetry. First, exploring the earliest mentions and descriptions of the North in Spanish, I present the origin of Norway’s perception as a marvellous and extraordinary geography. Then, I try to trace and explain how the original symbolic motif (related to the topical characteristics: cold, darkness, falcons), was displaced to more complex poetic uses. In special in the works of Luis de Góngora and Francisco de Quevedo.

Pre-Rehearsal Questions of Performance Tradition and Play-Selection

2018 ◽  
Author(s):  
Kathleen Jeffs
Keyword(s):  
Golden Age ◽  
Selection Process ◽  
The United States ◽  
Spanish Golden Age ◽  
Royal Shakespeare Company ◽  
The Public ◽  
Performance Tradition ◽  
Performance Traditions ◽  
Public Consciousness

This chapter asks the questions: ‘what is the Spanish Golden Age and why should we stage its plays now?’ The Royal Shakespeare Company (RSC) Spanish season of 2004–5 came at a particularly ripe time for Golden Age plays to enter the public consciousness. This chapter introduces the Golden Age period and authors whose works were chosen for the season, and the performance traditions from the corrales of Spain to festivals in the United States. The chapter then treats the decision taken by the RSC to initiate a Golden Age season, delves into the play-selection process, and discusses the role of the literal translator in this first step towards a season. Then the chapter looks at ‘the ones that got away’, the plays that almost made the cut for production, and other worthy scripts from this period that deserve consideration for future productions.

Staging the Spanish Golden Age

2018 ◽  
Author(s):  
Kathleen Jeffs
Keyword(s):  
Golden Age ◽  
Common Goal ◽  
Collaborative Model ◽  
Spanish Golden Age ◽  
Creative Processes ◽  
Collaborative Strategies ◽  
And Performance

This book offers first-hand experiences from the rehearsal room of the Royal Shakespeare Company’s 2004–5 Spanish Golden Age season in order to put forth a collaborative model for translating, rehearsing, and performing Spanish Golden Age drama. Building on the RSC season, the volume proposes translation and communication methodologies that can feed the creative processes of working actors and directors, while maintaining an ethos of fidelity with regards to the original texts. A successful theatrical ensemble thrives on the mingling of these different voices directed towards a common goal. The work carried out during this season has repercussions in the areas comedia critics debate on the page; each of the chapters engages with one area of these overlapping disciplines. Now that the Royal Shakespeare Company’s Spanish Golden Age season has closed, this book posits a model for future productions of the comedia in English, one that recognizes the need for the languages of the scholar and the theatre artist to be made mutually intelligible by the use of collaborative strategies, mediated by a consultant or dramaturg proficient in both tongues. This model applies more generally to theatrical collaborations involving a translator, writer, and director, and is intended to be useful for translation and performance processes in any language.

Approaches to Teaching Spanish Golden Age Drama

1990 ◽  
Vol 42 (2) ◽  
pp. 227-229
Author(s):  
Alix Ingber
Keyword(s):  
Golden Age ◽  
Approaches To Teaching ◽  
Spanish Golden Age

The Diabolical Adventures of Don Quixote, or Self-Exorcism and the Rise of the Novel

2002 ◽  
Vol 55 (1) ◽  
pp. 192-223 ◽  
Author(s):  
Hllaire Kallendorf
Keyword(s):  
Religious Belief ◽  
Golden Age ◽  
Don Quixote ◽  
The Novel ◽  
Spanish Golden Age ◽  
Autonomous Action

This study explores Cervantes’ appropriations of the terminology and imagery of Catholic exorcists and demonologists in the Spanish Golden Age. The “lucid intervals” of Don Quixote, his constant sense that someone pursues him, and his explicit voicing of the words of the exorcism ritual can only be understood fully in relation to contemporaneous religious belief. This essay also argues that the devilishly-described Don Quixote exorcized himself. This action anticipated self-exorcism as preached by the Franciscan Diego Gómez Lodosa. In Cervantes studies, Don Quixote's selfexorcism will become paradigmatic of the autonomous action of this first novelistic character.

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