Golden Age Drama in Contemporary Spain

Duncan Wheeler

Description

This is the first monograph on the performance and reception of sixteenth- and seventeenth- century national drama in contemporary Spain, which attempts to remedy the traditional absence of performance-based approaches in Golden Age studies. The book contextualises the socio-historical background to the modern-day performance of the country’s three major Spanish baroque playwrights (Calderón de la Barca, Lope de Vega and Tirso de Molina), whilst also providing detailed aesthetic analyses of individual stage and screen adaptations.

Introduction Chapter 1: The performance history of Golden Age drama in Spain (1939 - 2009) Chapter 2: An (early) modern classic: Fuente Ovejuna in contemporary Spain Chapter 3: Resurrecting lost traditions? Calderon's wife-murder plays and the CNTC Chapter 4: Cinema and Golden Age drama: the comedia goes to the movies Chapter 5: Locating Spanish classical drama in (inter)national contexts: Almagro, the CNTC, and the RSC Conclusion

Sujets

• Histoire
• Spanish
• Spain
• Spain (groupe)
• History
• Europe

Informations

• Publié par: University of Wales Press
• Date de parution: 15 avril 2012
• Nombre de lectures: 0
• EAN13: 9780708324752
• Langue: English
• Poids de l'ouvrage: 25 Mo

Extrait

IBERIAN AND LATIN AMERICAN STUDIES

Golden Age Drama in Contemporary Spain

Series Editors Professor David George (Swansea University) Professor Paul Garner (University of Leeds)

Editorial Board David Frier (University of Leeds) Lisa Shaw (University of Liverpool) Gareth Walters (Swansea University) Rob Stone (Swansea University) David Gies (University of Virginia) Catherine Davies (University of Nottingham) Richard Cleminson (University of Leeds)

IBERIAN AND LATIN AMERICAN STUDIES

Golden Age Drama in Contemporary Spain

TheComediaon Page, Stage and Screen

DUNCAN WHEELER

© Duncan Wheeler, 2012

All rights reserved. No part of this book may be reproduced in any material form (including photocopying or storing it in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright owner except in accordance with the provisions of the Copyright, Designs and Patents Act 1988. Applications for the copyright owner’s written permission to reproduce any part of this publication should be addressed to The University of Wales Press, 10 Columbus Walk, Brigantine Place, Cardiff CF10 4UP.

www.uwp.co.uk British Library CIP A catalogue record for this book is available from the British Library.

ISBN 978–0–7083–2474–5 (paperback) 978–0–7083–2473–8 (hardback) e-ISBN 978–0–7083–2475–2 The right of Duncan Wheeler to be identified as author of this work has been asserted in accordance with sections 77, 78 and 79 of the Copyright, Designs and Patents Act 1988.

Typeset by Columns Design XML Limited, Reading Printed by CPI Antony Rowe, Chippenham, Wiltshire

Series Editors’ Foreword List of Illustrations

Translations of Play Titles List of Abbreviations Acknowledgements

Contents

Introduction Chapter 1: The performance history of Golden Age drama in Spain (1939–2009) Chapter 2: An (early) modern classic:Fuente Ovejunain contemporary Spain Chapter 3: Resurrecting lost traditions? Calderón’s wife-murder plays and the CNTC Chapter 4: Cinema and Golden Age drama: thecomediagoes to the movies Chapter 5: Locating Spanish classical drama in (inter)national contexts: Almagro, the CNTC and the RSC Conclusion Notes Works Cited Index

vii ix xi xv xvii 1

17

75

105

135

189 217 221 245 285

Series

Editors’

Foreword

Over recent decades the traditional ‘languages and literatures’ model in Spanish departments in universities in the United Kingdom has been superceded by a contextual, interdisciplinary and ‘area studies’ approach to the study of the culture, history, society and politics of the Hispanic and Lusophone worlds – categories that extend far beyond the confines of the Iberian Peninsula, not only in Latin America but also to Spanish-speaking and Lusophone Africa. In response to these dynamic trends in research priorities and curricu- lum development, this series is designed to present both disciplinary and interdisciplinary research within the general field of Iberian and Latin American Studies, particularly studies that explore all aspects of cultural production (inter alia literature, film, music, dance, sport) in Spanish, Portuguese, Basque, Catalan, Galician and indigenous languages of Latin America. The series also aims to publish research in the History and Politics of the Hispanic and Lusophone worlds, at the level of both the region and the nation-state, as well as on Cultural Studies that explore the shifting terrains of gender, sexual, racial and postcolonial identities in those same regions.

List

of

Illustrations

Front Cover: Still from film ofLa dama boba(Manuel Iborra, 2006). Courtesy of DeA Planeta. Figure 1: Photograph ofMarta la piadosa(dir. Alberto González Vergel, 1975), Teatro Español. Courtesy of the Museo Nacional del Teatro, Almagro. 44 Figure 2: Photograph by Ros Ribas ofEl vergonzoso en palacio(dir. Adolfo Marsillach, 1989), CNTC. Courtesy of the CNTC. 59 Figure 3: Photograph by Agustín Espinel ofLos balcones de Madrid (dir. Ángel Gutiérrez, 2007), Teatro de Cámara Chejov. Courtesy of the Teatro de Cámara Chejov. 71 Figure 4: Sketch forFuente Ovejuna(1965) by José Caballero. Courtesy of the Museo Nacional del Teatro, Almagro. 91 Figure 5: Photograph ofFuente Ovejuna(dir. Emilio Hernández, 1999), CAT. Courtesy of the CAT. 96 Figure 6: Photograph by Ros Ribas ofEl médico de su honra(dir. Adolfo Marsillach, 1986), CNTC. Courtesy of the CNTC. 110 Figure 7: Photograph by Chicho ofEl pintor de su deshonra(dir. Eduardo Vasco, 2008), CNTC. Courtesy of the CNTC. 127 Figure 8: Photograph by Chicho ofEl pintor de su deshonra(dir. Eduardo Vasco, 2008), CNTC. Courtesy of the CNTC. 128 Figure 9: Still from film ofEl alcalde de Zalamea(José G. Maesso, 1954). Courtesy of Video Mercury. 150 Figure 10: Still from film ofEl príncipe encadenado[The Prince in Chains155] (Luis Lucia, 1960). Courtesy of Video Mercury. Figure 11: Backstage still fromLa dama boba(Manuel Iborra, 2006). Courtesy of DeA Planeta. 180 Figure 12: Photograph by Ros Ribas ofLa vida es sueño(dir. Calixto Bieito, 2000), CNTC and Teatre Romea. Courtesy of the CNTC. 203 Figure 13: Photograph by Nicolas Trémouilhe of Pavón Theatre. Courtesy of Nicolas Trémouilhe. 206