scholarly journals El cardenal Espinosa y Mateo Vázquez de Leca: su influencia en la actividad teatral de Miguel de Cervantes

2021 ◽  
Author(s):  
José Luis Gonzalo Sánchez-Molero
Keyword(s):  
Commedia Dell'arte ◽  
Miguel De Cervantes ◽  
Theatrical Performances ◽  
Lope De Rueda ◽  
Theatrical Training

When Cervantes returned from his captivity in Algiers, he began a prolific period as a theatrical playwright. It was then, between 1581 and 1591, that he wrote numerous comedies, tragedies, and sacramental autos. Cervantes’s theatrical training, however, is a mystery. He only remembers his youthful attendance of theatrical performances by Lope de Rueda, but he does not write anything about the Italian Commedia dell’arte, for example. In this article, I propose to study the influence of the ‘confessional’ politics of Cardinal Espinosa and Mateo Vázquez (1565-1591) on the theatrical conception of Miguel de Cervantes, as well as the influence of Juan López de Hoyos and Alonso Getino de Guzmán on his theatrical apprenticeship.

scholarly journals Dramaturgia carnavalesca o festiva (2a parte)

2017 ◽  
Vol 3 (3) ◽  
pp. 64
Author(s):  
Fernando Duque Mesa
Keyword(s):  
William Shakespeare ◽  
Bertolt Brecht ◽  
Tirso De Molina ◽  
Francisco De Quevedo ◽  
Miguel De Cervantes ◽  
Alfred Jarry ◽  
Dario Fo ◽  
Juan Jose Arreola ◽  
Lope De Rueda ◽  
Pietro Aretino

El presente ensayo continúa la reflexión acerca de la Dramaturgia carnavalesca o festiva, enfocada en las búsquedas colectivas e individuales, más interesantes que se han venido dando en la práctica por parte de diversos grupos teatrales colombianos experimentales y latinoamericanos.Desde la década de los setenta hasta el momento presente, teniendo como referente las fuentes carnavalescas o festivas por parte de los grandes creadores de la literatura universal popular como: Aristófanes, Menandro, Plauto, Terencio, Teatro Popular Medieval, la Comedia del Arte, con Ángelo Beolco (Ruzzante), Carlo Goldoni, Pietro Aretino, Miguel de Cervantes Saavedra, Lope de Rueda, Félix Lope de Vega, Tirso de Molina, Francisco de Quevedo y Villegas, William Shakespeare, Molière, François Rabelais, Giovanni Bocaccio, hasta llegar a Alfred Jarry, Bertolt Brecht, Darío Fo, Franca Rame, Gabriel García Márquez, Santiago García, Enrique Buenaventura, Juan José Arreola, entre muchos otros.Creaciones dadas en un tiempo y en un espacio en el que se comienza a ver y analizar desde las prácticas de la escena, los más diversos y complejos procesos histórico-sociales.

scholarly journals Dramaturgia carnavalesca o festiva

2016 ◽  
Vol 2 (2) ◽  
pp. 90
Author(s):  
Fernando Duque Mesa
Keyword(s):  
William Shakespeare ◽  
Miguel De Cervantes Saavedra ◽  
Gabriel Garcia Marquez ◽  
Francois Rabelais ◽  
Tirso De Molina ◽  
Francisco De Quevedo ◽  
Miguel De Cervantes ◽  
Alfred Jarry ◽  
Juan Jose Arreola ◽  
Lope De Rueda

Resumen El presente ensayo, Dramaturgia Carnavalesca o Festiva, de un tal Fernando Duque Mesa, es una reflexión sobre una de las búsquedas colectivas e individuales, más interesantes que se han venido dando por parte de muy diversos grupos teatrales colombianos experimentales o no, como latinoamericanos, en especial desde la década de los setenta hasta el momento presente, basadas en las fuentes carnavalescas o festivas de los más grandes creadores de la literatura universal popular como: Aristófanes, Menandro, Plauto, Terencio, Teatro Popular Medieval, La Comedia del Arte, Miguel de Cervantes Saavedra, Lope de Rueda, Félix Lope de Vega, Tirso de Molina, Francisco de Quevedo y Villegas, William Shakespeare, Moliere, Francois Rabelais, Giovanni Bocaccio, hasta llegar a Alfred Jarry, Gabriel García Márquez, Santiago García, Enrique Buenaventura, Juan José Arreola, entre muchos otros. Creaciones dadas en un tiempo y en un espacio en el que se comienza a ver y analizar desde las prácticas de la escena, los más diversos y complejos procesos histórico-sociales de ayer y del momento presente.Palabras ClavesDramaturgia Carnavalesca o Festiva; Carnaval; Carnavalidad; Fiesta Popular; Lucidez Crítica

Humor in der Therapie. Lachend auf Distanz gehen, Ängste lachend besiegen

2003 ◽  
Vol 14 (3) ◽  
pp. 139-157
Author(s):  
Gudrun Hofmann
Keyword(s):  
Don Quixote ◽  
Miguel De Cervantes ◽  
Don Quijote ◽  
Richard Strauss ◽  
Sancho Panza

Zusammenfassung. Don Quijote und Sancho Panza, von Miguel de Cervantes Saavedras 1605/1612 geschaffene Romanhelden, erfreuen sich auch im Jahre 2003 eines großen Bekanntheitsgrades und sind als komisches Paar berühmt geworden. Beide verstricken sich in Abenteuer, die einzig ihrer Fantasie erwachsen. Im folgenden steht das Komische - aus nicht der Norm entsprechendem Verhalten oder aus wahnhaften Imaginationen erwachsend - in der literarischen Vorgabe wie auch in dem sinfonischen Tongedicht “Don Quixote“ von Richard Strauss im Mittelpunkt. Daran schließen sich Überlegungen zu einer tänzerischen Umsetzung im Rahmen eines therapeutischen Settings an. Es wird analysiert, wie sich Menschen mit unterschiedlichen Persönlichkeitszügen (resp. -störungen) darin wiederfinden können und wie die Charaktere von Don Quijote und Sancho Panza im Sinne einer eigenen Interpretation weiterentwickelt werden können. Aspekte der von Helmut Plessner vertretenen anthropologischen Betrachtungsweise des Lachens beleuchten die nur dem Menschen eigene Fähigkeit komisch zu sein und Komisches wahrzunehmen.

Adrián J. Sáez (ed.), Miguel de Cervantes. Información de Argel

2020 ◽  
Vol 40 ◽  
pp. 409-410
Author(s):  
Silvia Maria Fernandes Alves da Silva
Keyword(s):  
Miguel De Cervantes

Reseña de Adrián J. Sáez (ed.), Miguel de Cervantes. Información de Argel.

NURTURING OF CHILDREN THROUGH DRAMA AND THEATRE: THE CASE OF INTWASA KOBULAWAYO PERFORMANCES

2016 ◽  
Vol 13 (2) ◽  
pp. 86-99
Author(s):  
Vimbai Moreblessing Matiza
Keyword(s):  
Political Development ◽  
Children And Youth ◽  
Main Task ◽  
Growing Up ◽  
Theatrical Performances ◽  
History Of ◽  
The One

Dramatic and theatrical performances have a long history of being used as tools to enhance development in children and youth. In pre-colonial times there were some forms of drama and theatre used by different communities in the socialisation of children. It is in the same vein that this article, through the Intwasa koBulawayo performances, seeks to evaluate how drama and theatre are used to nurture children and youth into different developmental facets of their lives. The only difference which this article will take into cognisance is that the performances are done in a different environment, which is not the one used in the pre-colonial times. Although these performances were like this, the most important factor is the idea that children and youth are socialised through these performances. It is also against this backdrop that children and youth are growing up in a globalised environment, hence the performances should accommodate people from all walks of life and teach them relevant issues pertaining to life as they live it now. Thus the main task of the article is to spell out the role of drama and theatre in the nurturing of children and youth through socio economic and political development in Intwasa koBulawayo festivals.

Commedia dell'arte Actresses and the Performance of Lovesickness

2009 ◽  
Vol 10 (2) ◽  
pp. 26-37
Author(s):  
Clarissa Hanora Hurley
Keyword(s):  
Medical Condition ◽  
Commedia Dell'arte ◽  
Cultural Attitudes ◽  
Gender Based

In the late sixteenth and early seventeenth centuries there was a conjunction of interest in erotomania as a “real” medical condition and the representation of that condition in literature and on the popular stage. This period corresponds with the rise of the professional actress of the commedia dell’arte. This paper explores some instances of pazzia (madness) scenes in the scenarios of Flaminio Scala and contemporary accounts of commedia performances with a view to better understanding the role of the professional theatre and professional actress in shaping and reflecting cultural attitudes towards gender-based erotic “distraction”.

Acting Between the Spheres: Charlotte Cushman as Androgyne

1996 ◽  
Vol 37 (2) ◽  
pp. 23-66
Author(s):  
Elizabeth Reitz Mullenix
Keyword(s):  
Nineteenth Century ◽  
Recent Article ◽  
Private Life ◽  
Audience Member ◽  
Gender Ideologies ◽  
Men And Women ◽  
Contemporary Theatre ◽  
Separate Spheres ◽  
Theatrical Performances ◽  
Human Figure

On 29 December 1845, Charlotte Cushman did an extraordinary thing at the Haymarket theatre: she convincingly transformed herself into a man. Audience members who witnessed this performance were captivated by “the transmuting power” of Cushman's “genius” as she became Romeo. This production (and Cushman's Romeo in general) continues to fascinate both contemporary theatre historians and feminist scholars, who are equally impressed with Cushman's seeming ability to create an unsettling paradox. In a recent article, Anne Russell discusses the positive reception that Cushman's Romeo received and questions how the cross-dressed actress could have been so successful “in a period when dominant gender ideologies assumed clearly delineated separate spheres for men and women, when stage reviewers as a manner of routine assessed the ‘womanliness’ or ‘manliness’ of characters and performers.” As Russell explains, the nineteenth-century audience member, critic, and/or commentator read the human figure on stage as either male or female; indeed, such antithetic thinking was pervasive throughout nineteenth-century culture. Cushman was unique, however, in that she repeatedly defied such categorization, both in her theatrical performances and in her “private” life.

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