Relevant bibliographies by topics / Spanish theater

Contents

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

Academic literature on the topic 'Spanish theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Spanish theater"

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G.M.D. "Spanish Theater." Americas 42, no. 4 (April 1986): 499. http://dx.doi.org/10.1017/s0003161500052287.

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Moisand, Jeanne. "Dal tempio monumentale alla baracca da fiera: mutamenti dello spazio urbano e luoghi teatrali a Madrid e Barcellona alla fine del secolo XIX." MEMORIA E RICERCA, no. 29 (March 2009): 29–45. http://dx.doi.org/10.3280/mer2008-029003.

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- This article compares the construction of theaters in Madrid and Barcelona from the 1830's to the 1910's by looking at the various forms and types of theaters, as well as those who funded them. As the history of books has shown, we can gain a better understanding of the social uses of cultural goods by analyzing the material forms in which they are produced and distributed. In the two Spanish main capital cities, the architectural evolutions of theater buildings, social changes in the constructors' milieux, and the movement of theater sites out of the city centers to suburban areas, show how theater descended from an elitist form of culture to a mass consumption good, available to partly illiterate populations.
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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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Brosa Rodríguez, Antoni. "Las compañías teatrales españolas en internet." Triangle, no. 10 (May 21, 2020): 1. http://dx.doi.org/10.17345/triangle10.1-98.

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In this work, the Internet presence of Spanish theater companies will be analyzed by studying a corpus of own data. The internet concept is very broad. The great advances in this eld have developed many new functions. Although the fundamental and essential purpose of the Internet is communication, the real technological change begins with computerization and the ability to process, manipulate and control vast amounts of data. This change does not lie only in the methodology in communicating, but involves a deep change that aects the life of society in general. Internet is a virtual space where you can live: watch a movie, buy food or clothes, talking with friends, check bank details, play, etc. This profound change in society also comes to literature in general and theater in particular. Within this giant free showcase that is Internet, every author and every theater company seeks its place in order to be visible to the world. In this paper, we review the dierent ways in which the theater appears on the Internet and present a systematic and detailed analysis of the Internet presence of twenty companies of Spanish theater with very dierent idiosyncrasies that reect the current Spanish theater scene.
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Soufas, C. Christopher. "Benavente and the Spanish Discourse on Theater." Hispanic Review 68, no. 2 (2000): 147. http://dx.doi.org/10.2307/474979.

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Quintana, Benito J. "Female Amerindians in Early Modern Spanish Theater." Comedia Performance 13, no. 1 (April 1, 2016): 257–65. http://dx.doi.org/10.5325/comeperf.13.1.0257.

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Moreno, Laura Ramiro. "90 Monologues from Classical Spanish Theater in Spanish and in English." Comedia Performance 17, no. 1 (March 2020): 131–34. http://dx.doi.org/10.5325/comeperf.17.1.0131.

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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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de la Haza, José María Ruano. "Spanish Classical Theater in Britain and North America." Romance Quarterly 52, no. 1 (January 2005): 2–12. http://dx.doi.org/10.3200/rqtr.52.1.2-12.

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Gies, David T. "Glorious Invalid: Spanish Theater in the Nineteenth Century." Hispanic Review 61, no. 2 (1993): 213. http://dx.doi.org/10.2307/473967.

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Dissertations / Theses on the topic "Spanish theater"

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Charoni, Eugenia. "From Motherhood and Marriage to Symbolist Theater and Revolutionary Politics: French and Spanish Women's Theatre, 1890's to 1930's." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377871014.

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FRISCHMANN, DONALD HARRY. "EL NUEVO TEATRO POPULAR EN MEXICO. (SPANISH TEXT) (THEATER)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/187949.

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Based upon recent field research mainly in Mexico City, Guadalajara and Cuernavaca, as well as upon the theoretical writings of Nestor García Canclini, theoreticians of the Latin American New Theatre and researchers of Latin American popular culture, the present study seeks to prove and document the existence of a distinctly new movement in Mexican popular theatre. This new popular theatre has its roots in the early part of the 20th century but has rapidly developed only since 1965. It draws upon many popular dramatic forms, such as anonymous dramas of European origen, indigenous theatre, the commedia dell'arte, the proletarian dramas resulting from the Mexican Revolution of 1910, the "teatro carpero de revista", and the age-old tradition of the roaming artist and street vendor. These forms are used as a vehicle to focus upon themes relevant to the socio-economic and political status of the disenfranchised masses, and to raise the level of consciousness of the proletarian and peasant classes regarding the problems which affect them, in order that they might act to bring about significant beneficial change. The author distinguishes among three categories of popular theatre, based upon the area of operation or form of subsistence: (1) Popular theatre within the State (Teatro Conasupo de Orientacion Campesina, 1971-76; Proyecto de Arte Escenico Popular 1976-82; Teatro Popular del INEA, 1982-); (2) Proletarian Theatre (Centro Libre de Experimentacion Teatral y Artística, CLETA); (3) Independent Popular Theatre (Grupo Cultural Zero, Cooperativa Teatro Denuncia de Felipe Santander). All three categories exhibit similar influences and share the goals described above which place them fully within the movement of the Latin American New Popular Theatre.
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Regele, Thomas R. "Constructing the present by recasting the past : perceptions and expressions of las dos Españas in the refundición /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181123.

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Thesis (Ph. D.)--University of Oregon, 2005.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 191-197). Also available for download via the World Wide Web; free to University of Oregon users.
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Muñoz, Cáliz Berta Berenguer Angel. "El teatro crítico español durante el franquismo, visto por sus censores /." Madrid : Fundación Universitaria Española, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015406308&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Ball, Rachael I. "An Inn-Yard Empire: Theater and Hospitals in the Spanish Golden Age." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281290896.

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Komocki, Kirt Edward. "The Representation of Domestic Servants in Eighteenth-Century Spanish Theatre." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306852444.

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Allen, Philip. "Estudio y edición de La más constante mujer de Juan Pérez de Montalbán." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5815.

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La más constante mujer is a Spanish Golden Age play written by Juan Pérez de Montalbán in 1631 and published for the first time in 1632. Although he was once one of the most famous playwrights in Madrid, known for running in the same literary and social circles as Lope de Vega and Calderón de la Barca, the bulk of the dramatist's work has been greatly ignored by scholars, or is referred to as being of second rate, and the author himself has nearly tragically been forgotten throughout the centuries following his short life. Although research has been conducted to chronicle the literature produced by Montalbán, his plays have been generally overlooked by modern scholars and very little of the dramatist's theatrical production has been analyzed within the last one hundred years. As a result, there are no modern editions of his plays. The intention of this thesis is to provide a regularized critical edition of La más constante mujer, together with an in-depth analysis of the life and times of its author, and the play's main themes, topics, influences, and characteristics.
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Barr, Amanda M. "La génesis de Nosferatu en el cine mudo." Thesis, Kansas State University, 2008. http://hdl.handle.net/2097/1090.

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Master of Arts
Department of Modern Languages
Benjamin Torrico
This thesis analyses the play Nosferatu by the contemporary Spanish author Francisco Nieva, and more specifically focuses on its genesis in silent film, primarily German Expressionist. First we take a look at the genre and style of the work itself, followed by a history of the vampire in literature and film. After a brief summary of the play, we begin to focus on the films, first discussing how Nieva came into contact with them in France through the cinémathèques. What follows is a detailed study of the films, with summaries, analysis of themes, and finally a comparison to Nosferatu, looking at the elements of the play that each film directly influenced.
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Coma, Diaz Marina. "La Perpetuacion de los Discursos Sexuales en el Teatro Hispano a Traves de la Figura de Don Juan." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1461593107.

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Kennedy, Cecilia Jeanette. "Space and Place in the Out-of Doors settings of the Farsas Y Eglogas by Lucas Fernandez, Spanish Playwright (1474-1542)." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1364218236.

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Books on the topic "Spanish theater"

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"Other" Spanish theatres: Erasure and inscription on the twentieth-century Spanish stage. New York: Manchester University Press, 2003.

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Painting on stage: Visual art in twentieth-century Spanish theater. Lewisburg [Pa.]: Bucknell University Press, 2010.

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Louise, Fothergill-Payne, and Fothergill-Payne Peter, eds. Prologue to performance: Spanish classical theater today. Lewisburg: Bucknell University Press, 1991.

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Radical theatricality: Jongleuresque performance on the early Spanish stage. West Lafayette, Ind: Purdue University Press, 2007.

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McCarthy, Jim. Political theatre during the Spanish Civil War. Cardiff: University of Wales Press, 1999.

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T, Halsey Martha, and Zatlin Phyllis 1938-, eds. The Contemporary Spanish theater: A collection of critical essays. Lanham, MD: University Press of America, 1988.

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Remaking the comedia: Spanish classical theater in adaptation. Woodbridge, Suffolk, UK: Tamesis, 2015.

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Ríos-Font, Wadda C. Rewriting melodrama: The hidden paradigm in modern Spanish theater. Lewisburg, Pa: Bucknell University Press, 1997.

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M, Delgado Maria, ed. Spanish theatre 1920-1995: Strategies in protest and imagination. Amsterdam, Netherlands: Harwood Academic Publishers, 1998.

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Drumm, Elizabeth Anne. Painting on stage: Visual art in twentieth-century Spanish theater. Lewisburg, Pa: Bucknell University Press, 2010.

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Book chapters on the topic "Spanish theater"

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Vuelta García, Salomé. "El teatro del Siglo de Oro en el fondo Orsi de la Biblioteca Estense de Módena." In Studi e saggi, 399–420. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.24.

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This paper offers an overall study of the texts derived from the Spanish classical theater contained in the Orsi collection of the Estense Library of Modena, which has so far not been adequately investigated. The remarkable interest of Giovan Gioseffo Orsi (1652-1733) and his entourage for the Spanish theater emerged, played in the public theaters, private villas, academies and Jesuit colleges of Modena and Bologna between the end of the XVII and the beginning of the XVIII century. In addition, several unknown adaptations and remakes come to light, deriving from Spanish pièces included in the Diferentes autores collection - which had a considerable European circulation -, and some canovacci, long considered lost, dating back to the companies of the professional comedians Giovanni Andrea Cavazzoni and Luigi Riccoboni. The analysis conducted on some of these texts, of which there are multiple versions, allows us to go into the translator’s laboratory, greatly increasing our knowledge of the theatrical rewriting methods of the time.
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Waldron, Jennifer. "Revenge, Sacrifice, and Post-Reformation Theater: The Spanish Tragedy." In Reformations of the Body, 117–47. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137313126_5.

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Scannapieco, Anna. "«Il Sacchi mi mandava tratto tratto de’ fasci di quelle strane, e mostruose opere di quel Teatro…»: Carlo Gozzi e il teatro spagnolo." In Studi e saggi, 435–51. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.26.

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The contribution proposes a reflection on the greatest author of the 18th Century Italian theater who drew on the dramaturgical heritage of the siglos de oro. The main elements dealt with are: Carlo Gozzi's theoretical reflection on the characteristics of Spanish theater; the fundamental role in the repêchage that the actors of Antonio Sacco's company had in that theater, for which the author provided - according to him - a "voluntary friendly assistance"; finally, the most significant data that emerge, or could emerge, from the first National Edition of the works of Carlo Gozzi (launched in 2011).
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Hilt, Douglas. "2. The Reception of the Spanish Theater in European Romanticism." In Comparative History of Literatures in European Languages, 17. Amsterdam: John Benjamins Publishing Company, 1993. http://dx.doi.org/10.1075/chlel.ix.04hil.

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Ford, Katherine. "Returning to the Origins: The Use of Christianity in Spanish Caribbean Theater." In The Theater of Revisions in the Hispanic Caribbean, 89–135. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63381-7_4.

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Ford, Katherine. "Returning to the Past: The Use of History in Spanish Caribbean Theater." In The Theater of Revisions in the Hispanic Caribbean, 137–81. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63381-7_5.

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Ford, Katherine. "What’s Old is New Again: Ancient Greek Theater Alive in the Spanish Caribbean." In The Theater of Revisions in the Hispanic Caribbean, 47–87. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63381-7_3.

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Vuelta García, Salomé. "Navi che portano nell’aldilà: la raffigurazione del bivium in El viaje del alma di Lope de Vega." In Studi e saggi, 63–82. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-467-0.07.

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The bivium of human life, narrated in the myth of Hercules and symbolized by the Pythagorean Y, was a recurring motif in Spanish theater since the second half of the sixteenth century. Lope de Vega already developed it in one of his most remote sacramental plays, Comedia del viaje del hombre. In Viaje del alma, auto sacramental of Lope composed around 1599, on the occasion of the double royal wedding of Philip III with Margaret of Austria and the infanta Isabella Clara Eugenia with the archduke Albert of Austria, and published in El peregrino en su patria, the crossroads is represented through two opposing ships, of which the playwright offers us an accurate description that has its origin in the iconographic tradition in force at the time
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Brauneck, Manfred. "Das spanische Theater nach 1975." In Die Welt Als Bühne, 597–611. Stuttgart: J.B. Metzler, 2007. http://dx.doi.org/10.1007/978-3-476-00029-3_8.

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Tietz, Manfred. "El teatro del Siglo de Oro y su paulatina presencia en la cultura y la literatura teatrales en los países de habla alemana durante los siglos XVII y XVIII." In Studi e saggi, 77–114. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.7.

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The presence of the theatre of the Spanish Siglo de Oro in the theatre and literary culture of Germany (or the German-speaking countries) in the 17th and 18th centuries is a multifaceted one, and was influenced by many factors. We have to take in account that in the second half of the 17th century and in a large part of the 18th century Spain had been a terra incognita for the Germanic world. This long lack of basic knowledge led to a decontextualization of the Golden Age theatre and sometimes to an unconditional enthusiasm that was not based on historical realities. The protagonists of the ‘construction’ of a ‘Spanish national theatre’ included Lessing, Herder, Goethe, the Schlegel brothers and the philosopher Schelling, the most prominent German intellectuals of the time. Within this ‘construction’ Lope de Vega, Rojas Zorrilla and, above all, Calderón de la Barca are the three icons that will guide both the theory and the practice of drama during the ‘two most Spanish decades’ of German literary history (1790-1810), even reaching - in the secularized world of the classics and the first generation of German Romantics - the ‘deification’ of Calderón as perfect poet and author of modern tragedies (without paying much attention to his comedias in a stricter sense and without taking account of his autos sacramentales).
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Conference papers on the topic "Spanish theater"

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Zabelina, Daria. "THE REVIVAL OF THE PHILIPPINE NATIONAL THEATER — KOMEDYA." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.39.

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Komedya, or moro-moro, is a genre of the Philippine national theater that was flourishing from the second half of the 17th century until the second half of the 19th century. The genre formation was a part of catholic missioners propaganda activities. In time, komedya became the most popular dramatic genre in colonial Philippines. The common features of komedya are: 1) the central theme of komedya is fight between Christians and Muslims, where Christians always win; 2) actions described in komedya never take place in the Philippines, but in an exotic country, for instance in Turkey or in Armenia; 3) Spanish missioners played an important role in the formation of the genre; 4) komedya is the national theater; 5) komedya is a secular genre as adventures dominate over the religious motives. In the middle of the 19th century komedya was criticized by the most progressive Filipinos for being extravagant, lacking logic and not touching upon current Philippine problems. By the beginning of the 20th century komedya was not staged anymore almost everywhere in the Philippines. Its place was taken by the other genres. A number of actions to bring komedya back to its former popularity have been undertaken from the 1970s with the great support of the cultural center of the Philippines and University of the Philippines. It is important to mention that the genre is being changed in order to correspond the needs of the modern Philippine society. For example, the Muslim conflict is not the main topic of the modern Philippine national play as it contradicts the national policy of the Philippines.
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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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Falsetti, Marco, and Pina Ciotoli. "Introverted and knotted spaces within modern and contemporary urban fabrics: passages, gallerias and covered squares." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5913.

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The scenic plaza mayor shares with the theater organisms some formative characters, since they both derive from a transformation, by knotting, of pre-existing buildings and fabrics. This architectural transformation is generated, at the beginning, by a change in the modalities of using public space. As for the corral de comedias, the process is due to the sedentarization of the theatrical practice, which abandons the itinerant dimension of the street to move inside the buildings (such as private homes and palaces). The original corral de comedias was in fact set up inside an open place that could be covered, and this feature became permanent over time, creating a new building type. Similarly, since the sixteenth century, squares became the fundamental location of Spanish civic life as well as they hosted all sorts of political, religious and festive representations, but also the venue of executions. For this purpose, namely to allow people to watch such events, the squares were transformed, by raising temporary walls and walkways. In some cases, like Tembleque and San Carlos del Valle, they began to realize permanent continuous balconies, with solutions that seem to have followed the same morphological evolution of corrales de comedias. In both cases it was necessary to unify different elements (buildings or rooms) and connect them to each other, through a process of “knotting”, in order to create a new organism. Over time the physiognomy of the spaces, originally open, assumed the permanent characters of a new type, closed and similar to the courtyard of a “palazzo”.
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