Relevant bibliographies by topics / Spanish American drama

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Spanish American drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Spanish American drama"

1

Orr, Stanley. "Taft’s Chair, Serra Cross, and Other Props." Pacific Coast Philology 56, no. 1 (April 1, 2021): 99–119. http://dx.doi.org/10.5325/pacicoasphil.56.1.0099.

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As Carey McWilliams notes in Southern California Country: An Island on the Land (1946), theatricality has persisted as a central tactic of empire in the U.S. borderlands—from the rituals Spanish missionaries used to attract Native Americans to the historical dramas of Anglo-American boosters. The early decades of the twentieth century saw a number of plays that, in the words of Chelsea K. Vaughn, “romanticized the Spanish and Mexican periods of California history before assigning them comfortably to the past.” These include John S. McGroarty’s The Mission Play (1912) and Garnet Holme’s adaptation of Ramona (1923) as well as his original drama The Mission Pageant of San Juan Capistrano (1924). Such dramas were anticipated by ceremonial pageants that took place at Mission Revival hotels throughout the early twentieth century—to wit, Governor Theodore Roosevelt’s visit to the 1899 Rough Riders Reunion at the Castañeda Hotel in Las Vegas, New Mexico, and President William Howard Taft’s 1909 Columbus Day sojourn at the Glenwood Mission Inn, in Riverside, California. Each of these “hospitality pageants” casts the visiting dignitary as a typological protagonist—the Anglo-American “antitype” of the Spanish “type” embodied in conquistadores and/or missionaries.
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Ayuso Rodríguez, Elena. "Génesis y realización del primer radioteatro de `Don Quijote´producido por la BBC en 1947." INDEX COMUNICACION 9, no. 2 (June 30, 2019): 35–53. http://dx.doi.org/10.33732/ixc/09/02genesi.

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In 1947, BBC produces the first radio drama on Don Quixote to celebrate the 400th anniversary of Cervantes’ birth. Released in Spain and Latin America in 27 chapters, BBC defined it as “the most ambitious project ever carried out.” The goal was to enhance BBC reputation in Spain. The radio play had the participation of actors from Radio Madrid, Spanish exiles in London and Latin American professionals. BBC surrounded with experts to adapt Cervantes narrative to radio language; deal with Spanish accents diversity; and compose music, which accompanied this radio version. The Quixote of BBC spread Cervantes’ work throughout all Spanish-speaking countries and promoted the production of other Quixotes within the radio in Spain. Keywords: Radio; Radio Drama; Radio Fiction; Don Quixote; BBC.
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Edwards, Gwynne. "Theatre Workshop and the Spanish Drama." New Theatre Quarterly 23, no. 4 (November 2007): 304–16. http://dx.doi.org/10.1017/s0266464x0700022x.

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In the course of her long career as a director with Theatre Union and Theatre Workshop, Joan Littlewood staged some twenty foreign-language plays, of which three were Spanish: Lope de Vega's Fuente Ovejuna, Lorca's The Love of Don Perlimplín for Belisa in His Garden, and Fernando de Rojas's La Celestina, while there were also plans to perform Lorca's Blood Wedding. Gwynne Edwards argues in this article that Littlewood's attraction to the Spanish plays was sometimes political but always due to a similarity in performance style which, influenced by the methods of leading European theatre practitioners, sought to integrate the elements of speech, stage design, movement, music, and lighting into a harmonious whole. Indeed, even though Lorca and Littlewood worked independently of each other, their ideas on the nature and function of theatre were very similar, while Lorca's touring company, La Barraca, employed methods very close to those of Theatre Union and Theatre Workshop. Gwynne Edwards was until recently Professor of Spanish at the University of Wales, Aberystwyth, and is a specialist in Spanish theatre. Eleven of his translations of the plays of Lorca have been published by Methuen Drama, as well as translations of seventeenth-century Spanish and modern Latin American plays. Many of these have also had professional productions.
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Kornev, V. A., and O. V. Murashkina. "The Gaucho Archetype in the Artistic Culture of Latin America." Язык и текст 11, no. 1 (April 8, 2024): 65–73. http://dx.doi.org/10.17759/langt.2024110106.

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<p>The article examines the role of representatives of a specific ethnic group of inhabitants of the South American steppes-Pampas &mdash; pastoralists-Gaucho nomads in the formation, formation and development of national Spanish-American literature based on its genres such as oral folk art, lyrical and epic poetry, drama, realistic and psychological novel. The existence of this ethnic type can be traced back to 1775, but the process of turning a Spanish shepherd into a half-breed Gaucho is still largely unclear. The formation of Gaucho literature can serve as an example of the emergence of folk literature in the countries of Spanish America. Gaucho poetry reached the culmination point of its development with &laquo;Martin Fierro&raquo; by H. Hernandez, however, it did not take much time for the gaucho theme to turn into prose: drama, short story and novel. The transition from poetry to prose, as well as the transition from oral to written poetry, did not take place immediately. Gaucho poetry continued to develop and gained prominence for the reworking of the legend of Santos Vega, but new forms of Gaucho literature were already supplanting poetry. The novel about the gaucho arose from a primitive popular print, but the popularity gained by the very first attempts to create a novel about the gaucho testified to the prospects of this genre, which soon attracted the attention of truly talented authors. Thus, the Gaucho gave his native land a regional literature, which became a model of cultural and spiritual independence for all countries of Spanish America. Having formed a whole trend in literature, the Gaucho archetype has left a noticeable mark in other forms of art and, perhaps, will serve as an example to national forces called upon to make the transition from imitation of European models to literary Americanism.</p>
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Kmet, Masa. "The Presence of American Drama in the Spanish Non-Professional Theatre of the 1950s." Revista Alicantina de Estudios Ingleses, no. 37 (July 27, 2022): 37. http://dx.doi.org/10.14198/raei.2022.37.04.

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American dramatists arrived in the Spanish theaters rather late, in the 1950s. In the beginning they were generally represented by non-professional theater groups (exemplified here by Dido Pequeño Teatro) that aimed to challenge the obsolete plays produced on the mainstream stages during Franco’s dictatorship (1939-1975). Thanks to these companies that were an alternative to the commercial theaters, Spanish audiences gradually discovered many contemporary playwrights whose plays were being staged in the rest of Europe at the time. This article focuses on three American authors who were the first significant ones to be staged in Spain: Eugene O’Neill, Tennessee Williams and the American-born T.S. Eliot, and were chosen by Dido Pequeño Teatro. This paper briefly presents the three authors and their theater, together with their success in the United States, in order to then concentrate on their first appearance in Spain. We highlight four plays that were produced by one of the most significant Spanish non-professional groups of that era, Dido Pequeño Teatro. The article then takes a closer look at how the plays were received by the critics and the general audience and analyze their success.
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Smith, Paul Julian. "Screenings." Film Quarterly 71, no. 3 (2018): 72–76. http://dx.doi.org/10.1525/fq.2018.71.3.72.

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Italian television scholar Milly Buonanno has often complained that, in this second Golden Age of TV, academic attention is focused almost exclusively on the United States. Even in a country like Spain, newspapers dutifully recap each episode of American premium-cable and streaming-service series while ignoring their own local productions. Hence, the importance of Buonanno's new collection Television Antiheroines: Women Behaving Badly in Crime and Prison Drama, which tracks its female figures on screens from Italy and France to Australia and Brazil. Smith examines two prominent Spanish language TV shows featuring women in prison and concludes that Buonanno's invaluable book shows it is no longer necessary to ask where the female Tony Sopranos or Walter Whites may be. And, thanks to the compelling examples of Capadocia (HBO Latin America, 2008–12) and Spain's Vis a vis (Antena 3/Fox, 2015–), it is now clear that difficult women can speak Spanish as well as English on global TV screens, even as they are confined within them to the smallest of prison cells.
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Galarza-Ligña, Viviana, and Miguel A. Orosa. "Twenty-first century tendencies: characters, confrontation and freedom in the us teleserial post-drama." TECHNO REVIEW. International Technology, Science and Society Review /Revista Internacional de Tecnología, Ciencia y Sociedad 11, Monográfico (December 29, 2022): 1–8. http://dx.doi.org/10.37467/revtechno.v11.4439.

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The purpose of the ensuing research is to highlight the patterns of the transformations that have taken place in some of the most prestigious television series in the United States in terms of conflict, characters and the decomposition of the classic categories (freedom). Methodologically, the aim is to make an empirical analysis, within the framework of certain scientific models, that would address the current North American tele-serial post-drama and its antecedents in the dramatic culture so typical of the libertarian and anti-classical worldview that enriches the Spanish language.
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Čirić-Fazlija, Ifeta. "“Puščic prš proži nezaslišana usoda”: anglofonsko gledališče in dramatika po koncu pandemije." ELOPE: English Language Overseas Perspectives and Enquiries 21, no. 1 (June 30, 2024): 247–64. http://dx.doi.org/10.4312/elope.21.1.247-264.

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Since the days of their conception and for most of their history, theatre institutions and the dramatic genre have indelibly reflected their immediate socio-historic contexts, including epidemics. Although forced to close for a full year during the 1918 outbreak of Spanish flu, however, modern Anglophone theatres and authors deliberately avoided exploiting the pandemic in their works. Conversely, the COVID-19 pandemic directly affected the birthing of new genres and individual plays that included it in their settings and contents, and also motivated discussions on the future of dramatic literature and theatre establishments, particularly with regard to hybrid drama. Building on its author’s previous research, this paper examines British and American dramatic literature and theatre establishments one year after the end of the pandemic, to detect whether Anglophone drama has embraced the new genres, and whether its authors have continued to reflect the pandemic in their works.
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9

Montes-Alcalá, Cecilia. "Code-switching in US Latino literature: The role of biculturalism." Language and Literature: International Journal of Stylistics 24, no. 3 (August 2015): 264–81. http://dx.doi.org/10.1177/0963947015585224.

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While mixing languages in natural speech production has often been inaccurately ascribed to illiteracy or lack of linguistic competence, doing so in writing is a long-standing practice in bilingual literature. This practice may fulfill stylistic or aesthetic purposes, be a source of credibility and/or communicate biculturalism, humor, criticism, and ethnicity, among other functions. Here, I analyze a selection of contemporary Spanish–English bilingual literature (poetry, drama, and fiction) written by Mexican American, Nuyorican, and Cuban American authors focusing on the types, and significance, of code-switching (CS) in their works. The aim of the study is to determine to what extent the socio-pragmatic functions that have been attested in natural bilingual discourse are present in literary CS, whether it is mimetic rather than rhetorical, and what differences exist both across literary genres and among the three US Latino groups. I also emphasize the cultural aspect of CS, a crucial element that has often been overlooked in the search for grammatical constraints.
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Olmstead, Andrea. "The Plum'd Serpent: Antonio Borgese and Roger Sessions's ‘Montezuma”." Tempo, no. 152 (March 1985): 13–22. http://dx.doi.org/10.1017/s0040298200059167.

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The Spanish Conquest of Mexico provides stirring drama for an epic opera on an American subject It has been set by some 30 composers; the earliest is Graun's Montezuma (1755), and the best-known Spontini's Fernand Cortez, ou la Conquête de Mexique (1809). Antonio Borgese, a Sicilian who ‘fell in love with the English language’, retold the epic story to music by Roger Sessions.How did such an unlikely alliance—a Sicilian poet, an American composer, and Mexican history—come about? Sessions first met Antonio Borgese in 1934 in his home town of Hadley, Massachusetts, when Borgese was teaching at Smith College. In 1935 Borgese made a trip to Mexico, where he was overwhelmed by the early history of that country; on his return, he proposed collaborating on an opera on the subject, although he had never written a libretto. Sessions knew nothing of Mexico's history, but did possess a first edition of Prescott's Conquest of Mexico given to his grandfather, possibly by Prescott himself. Sessions read the Prescott and Bernal Diaz's account, and he too became enthralled. Borgese wisely advised against Sessions's proposed title, Tenochtitlan, arguing, ‘The opera is written for titans; we don't need a title for titans, too’. Instead, he suggested the title Montezuma.
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Dissertations / Theses on the topic "Spanish American drama"

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Méndez, Montesinos Delia Leticia. "From Spanish stage to California vineyards : the survival of the resilient simpleton /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Rodríguez, Chantal. "Performing Latinidad in Los Angeles pan-ethnic approaches in contemporary Latina/o theater and performance /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1905664631&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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McGrath, David John. "The representation of the American Indian in the 'comedia'." Thesis, Queen Mary, University of London, 2002. http://qmro.qmul.ac.uk/xmlui/handle/123456789/28812.

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There exist less than thirty known comedias treating Spain's engagement with the New World. With access to the entire corpus, I analyse the genesis of the representative stereotype of the Indian, and trace its transposition from festival pageantry and allegorical iconography to the stage of the comedia. I relate scenes from the plays to works of triumphalist sculpture and the semiology of modem staged spectacle, and compare the sexual metaphor of the iconography of the First Encounter, with a similar tableau from the corpus. I then analyse the emblematic representation of female Indians in the corpus, and their role in securing the inscription of Spanish male "hegemony" and "closure". There follows a discussion of the role of the Devil in the deception of the Indians. I consider several plays in the light of research on the origins of ethnology, and discuss the extent to which the depiction of the Indians on stage can be ascribed to their idolatry and its rituals. I then analyse the plays' demonisation of native orality. The "performance" of the politico-religious Requerimiento, both in history and on the stage, is measured in literary terms against the "fetishisation" of Western writing in the Conquest, followed by an assessment of the interrogation of these issues by Lope de Vega according to the notion of his manipulation of rhetorical "politeness". Finally, I contrast the function of scenes of horror and violence perpetrated by Indians, with those carried out by Spaniards. I return to the topic of staged spectacle and analyse the use of such scenes in "serious" and then "burlesque" mode,as defined according to theories of genre within the comedia. I link this to "carnival humour", and apply this to the comic treatment of topics of cannibalism and mutilation involving the Indians, and ask how this informs upon their representation in the corpus as a whole.
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Handall, Monique Elizabeth. "Translating Spanish language plays into English: A focus on the translation and production of Xavier Robles' Rojo amanecer." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2958.

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The purpose of this culminating project is to start translating quality Mexican and Latin American dramatic literature in order to provide to educators and theatrical directors a fundamental collection of plays. The author worked with her San Gorgonio High School students to conduct a dramaturgical study of the setting and political background of Rojo Amanecer by Xavier Robles, a play which outlines the events leading to the 1968 student massacre at Mexico City's Plaza de Tlatelolco. The author then directed the play in her role as San Gorgonio High School's new theater teacher.
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Avila, Alex. "THE BRONX COCKED BACK AND SMOKING MULTIFARIOUS PROSE PERFORMANCE." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/394.

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The Bronx Cocked Back And Smoking is a collection of multifarious prose performances recounting the historical, personal, social, political and cultural constructs of a city birthed by violence. This body of work is accompanied by video, audio, photography, and theatre performance texts. St. Mary’s Housing project, in the Bronx, is the foundation where most of this literary work takes place. The modern day Griot (storyteller) is a Poet, guiding his audience through the social inequalities and disparities that plague St. Mary’s community. The Poet shares personal traumatic insights while simultaneously utilizing writing as a form of survival to the conditions of the Bronx. This multi-platform performance highlights the metaphorical and physical concerns with the cycle of violence. This question is answered through the Poet’s choice by selecting the pen over the gun.
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Eldridge, Joan Tibbs. "Satire in selected contemporary Spanish American theater." 1989. http://catalog.hathitrust.org/api/volumes/oclc/29494670.html.

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Books on the topic "Spanish American drama"

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Forster, Merlin H. Many stages: Essays in Latin American drama. University, Miss: Romance Monographs, 2004.

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2

1895-, Weisinger Nina Lee, ed. Teatro moderno hispánico: Selections from South American plays. Lincolnwood, Ill., U.S.A. (4255 W. Touhy Ave., Lincolnwood 60646-1975): National Textbook Co., 1985.

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Tovar, Luz Peña. Un remolino en el río. Madrid, España: Asociación de Directores de Escena de España, 2002.

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J, Pantigoso Edgardo, and Galassi Battista, eds. Teatro esperante: Concursos literarios esperante. [Chicago]: Grupo Esperante, Northeastern Illinois University, 1989.

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), Pombero Carmen (1973, Barrionuevo Claudia, and Galleguillos María José, eds. Premio "María Teresa León, 2003". Madrid: Publicaciones de la Asociación de Directores de Escena de España, 2004.

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6

Pedro, Maldonado Rojas, and Liendo Jaime 1961-, eds. Colombia y Venezuela: Seis obras de teatro. Mérida, Venezuela: Ediciones Solar, 2002.

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7

Gabriel, Vargas Acuña, ed. El Teatro hispanoamericano actual: Antología. [San José, Costa Rica]: Editorial Fernández-Arce, 1987.

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Fernández-López, Carlos. II Premio Casa de América Festival Escena Contemporánea de Dramaturgia Innovadora. Madrid: Casa de América, 2006.

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Adam, Versényi, ed. Latin American dramatists. Detroit: Thomson Gale, 2005.

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Adam, Versényi, ed. Latin American dramatists. Detroit: Thomson Gale, 2004.

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Book chapters on the topic "Spanish American drama"

1

Biglieri, Aníbal A. "Antigone, Medea, and Civilization and Barbarism in Spanish American History." In A Handbook to the Reception of Greek Drama, 348–63. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch18.

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Lewis, Elizabeth Franklin. "Translating Genre and Gender for Madrid Audiences: The Case of María Rosa de Gálvez." In Gender and Cultural Mediation in the Long Eighteenth Century, 223–45. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-46939-8_9.

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AbstractThis essay highlights the importance of translation for eighteenth-century women writers, giving special focus to the life and work of María Rosa Gálvez (1768–1806), the most successful Spanish woman writer of her day and a member of a family with important positions in the Bourbon administration in both Spain and colonial America. We will consider Gálvez’s comments on translation, theatre, and lyric, as well as the international texts that she adapted, translated, or imitated to understand better her attempts to make a place for herself in literary history. A focus on two translations—Catalina o la bella labradora (1801) and the opera Bion (1804)—along with one original sentimental drama—El egoísta (1804) will reveal the importance of genre and gender in the aesthetic and thematic choices that Gálvez made in her translations, adaptations, and original texts. Ultimately, we will go beyond the dichotomy of previous approaches to Gálvez’s work, seeing her translated and original work as separate and unequal endeavours, to see how her choices of genre and emphasis on gender run throughout her career.
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Holt, Jerry. "“La Golondrina”." In A Uniquely American Epic, 47–64. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178141.003.0004.

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Jerry Holt’s essay focuses on the function of music in The Wild Bunch, with particular attention to how the film’s Spanish corridos, chief among them “La Golondrina,” subtly underscore the dramatic action and add a new dimension to the film’s combination of romanticism, violence, and drama.
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Racz, Gregary J. "La vida es sueño en forma analógica Teoría, metodología y recepción de la traducción a contrapelo." In Biblioteca di Rassegna iberistica. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-490-5/024.

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Since at least the 1990s, Translation Studies theorists have advocated greater respect for alterity in literary translation. With the advent of Naturalist theatre and, later, the predominance of free-verse poetry in the 20th century, renderings of both poetry and verse drama in the English-speaking world have favoured assimilation with target-culture values. “Organic form”, described by James S. Holmes as the methodology with which a translator renders a source text primarily for its meaning, has been the prevalent strategy for translating works such as Spanish Golden Age dramas for approximately a century now. A return to the methodology of “analogical form”, with which a translator seeks to render the source text using correlatives to its form and function in the source culture, would do much to recognise the Other by avoiding both de-historicisation and de-poeticisation through less domesticated target texts. Examples of these competing methodologies will be examined in a few American translations of Pedro Calderón de la Barca’s La vida es sueño.
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Conference papers on the topic "Spanish American drama"

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Orosa, Miguel A., Daqui Lema, Viviana Galarza-Ligna, and Ana Magali Culqui Medina. "Ecuador: the popular liturgical and festive origins of the Latin American indigenous post-drama and its specific conflict : Comparisons with the Spanish and European post-drama." In 2020 15th Iberian Conference on Information Systems and Technologies (CISTI). IEEE, 2020. http://dx.doi.org/10.23919/cisti49556.2020.9140902.

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Reports on the topic "Spanish American drama"

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Sastre, Alfonso. The Future of Drama. Inter-American Development Bank, April 1994. http://dx.doi.org/10.18235/0007911.

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Jorge Marcone (1959-), Peruvian Associate Professor of Spanish Literature and Latin American Studies at Rutgers University (NJ). Current research and teaching focuses on the environmental imagination in literatures in Spanish and in the Americas.
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