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Dissertations / Theses on the topic 'Spanish theater'
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1
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 ArtsDepartment 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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Barrera, Gutierrez Olivia. "Cleopatra y Antonio: a Critical Study and a Creative Writing Project based on Shakespeare's Anthony and Cleopatra (1623)." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1584016082083613.
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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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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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Yancey, Jason Edward. "Dark Laughter: Liminal Sins in Quevedo's Entremeses." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/195236.
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This dissertation investigates two areas rarely treated in Early Modern studies. First, it explores the origins, functions and importance of the entremes as a performance genre historically relegated to what Victor Turner has called the "liminal" spaces of social and scholarly discourse. These marginalized places of ambiguity in between one space and another provide the artist with a less restrictive creative setting in which to explore the otherwise difficult and even unmentionable social themes. Literally placed in between acts of the comedia performance experience, as well as chronologically placed in between the medieval pageant theater and the emerging early modern theater houses, the entremes serves as an entertaining breed of performance monster, building upon a thematic foundation "betwixt and between" acceptable and objectionable forms of theater.Second, the dissertation examines in detail the 12 lesser-known entremeses of Francisco de Quevedo as examples of liminality in the development of early modern theater practices. Specifically, the study analyzes these theater pieces as they subscribe to three categories of cardinal sin: desires of the ego (pride, wrath and sloth); desires of ownership (greed and envy); and desires of the body (lust and gluttony).As a result, this work hopes to demonstrate the aesthetic value of the interlude and the ways in which Quevedo's various manifestations of this liminal genre, based heavily on the construct of sin, both complement and contradict the model of the entremes as established by his predecessors.
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Gunckel, Colin. ""A theater worthy of our race" the exhibition and reception of Spanish language film in Los Angeles, 1911-1942 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997008061&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Barton, Sheila Jan. "A Qualitative Analysis of Brigham Young University's Golden Age Theater Production and Outreach Course." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2142.pdf.
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Feinberg, Matthew Isaiah. "LAVAPIÉS, MADRID AS TWENTY-FIRST CENTURY URBAN SPECTACLE." UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_diss/216.
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Informed by the theories of Henri Lefebvre regarding the production of space and the theories of scale found in current scholarship in Cultural Geography, my methodology analyzes both dramatic texts and theater spaces to investigate how cultural production and capital converge in the “spectacle” of urban space. While employing this term “spectacle” to describe how dramatic texts, theater productions, and modern architecture transform the urban landscape into a metaphoric theater space for the production of local, national, and global identities, this project examines the relationship between theater and urban change in Lavapiés, an iconic, multicultural, and oftenunderserved neighborhood located in the Embajadores district of Madrid, Spain. Against the historical backdrop of the neighborhood’s long and important relationship with theater and theater spaces from the seventeenth century onwards, I analyze a range of urban spectacles taking place in Madrid between 1997 and 2006. This analysis includes close readings of contemporary plays that represent the urban space of Lavapiés and Madrid, an analysis of the architecture of power articulated in the the municipal government’s Plan General de Ordenación Urbana de Madrid 1997 [Plan for Urban Development for Madrid 1997] and the recently constructed Teatro Valle-Inclán Centro Dramático Nacional [National Drama Center]. Finally, I look at the cultural activities of the squatters (okupas) of the Laboratorio 03 who between 2002 and 2003 transformed an abandoned warehouse into a space for art, theater, and cyber resistance that sought to shatter the illusion of capitalist spectacle projected by the gleaming steel and glass of the new condominiums and cultural institutions represented by the aforementioned Teatro Valle-Inclán. Overall, this project looks to this range of traditional and nontraditional texts to illustrate how Madrid’s historical dynamic between urban space, power, and theater continues to be manifested in the contemporary spectacle of Lavapiés.
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Porras, George Yuri. "Musical scenes in the minor, secular, and religious works of Agustín Moreto y Cabaña (1618-1669)." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1104116173.
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Gallardo, Laurent. "Le théâtre en ses dehors : la poétique des intercesseurs dans l'oeuvre de José Sanchis Sinisterra." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAL004.
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José Sanchis Sinisterra met en œuvre une poétique des intercesseurs qui déborde le drame conventionnel et l'entraîne vers son dehors, là où il est possible d'instaurer des zones de voisinage avec d'anciennes traditions théâtrales et d'autres domaines de création. Cette recherche passe par l’actualisation d'un théâtre baroque populaire tel qu'il se manifeste en Espagne au XVIIème siècle. Il s'agit de revendiquer une conception carnavalesque du drame faisant échec au « bel animal » aristotélicien. En pratiquant l'adaptation, le dramaturge cherche également à confronter la théâtralité à des œuvres porteuses d'un renouveau formel au profit d'une déconstruction remettant en cause les procédés dramatiques traditionnels. Son intérêt pour l'écriture de Kafka participe de ce mouvement général : l'adaptation lui permet d'importer dans le champ théâtral une poétique du discontinu qui déroge aux principes de cohérence, d'unité et de complétude de l'aristotélisme. Poussant cette recherche au-delà des limites littéraires, José Sanchis intègre également les sciences(notamment la physique quantique et la médecine) à sa réflexion afin de faire évoluer les conceptions admises du temps, de l'espace et de l'observation. On remarque que ces trois notions,qui sont celles que la physique quantique redéfinit en marge de la pensée cartésienne, sont généralement traitées au théâtre comme des réalités immanentes. La supposée unité de l'espace-temps marque un seuil au-delà duquel la forme théâtrale ose rarement s'aventurer. Or, c'est cette frontière que le dramaturge souhaite repousser, en développant une représentation du monde inspirée de conceptions scientifiques. Celles-ci constituent dès lors un nouvel intercesseur à même d'alimenter cette déconstruction théâtraleJosé Sanchis Sinisterra builds an intercessor poetics which brims over conventional drama pushing its boundaries beyond the theatre and overlapping with ancient theatre traditions and other creationfields. This search involves updating popular baroque drama, namely as it unfolds in XVII century Spain, claiming a carnival drama conception as opposed to the Aristotelian “beautiful animal.” Through dramatisation, the playwright also aims to confront theatricality to other works bearingformal novelty in favour of a deconstruction that questions traditional drama writing processes. The attention brought to Kafka's works forms part of this general approach: dramatisation allows the author to bring a poetics of discontinuity into dramaturgy, breaking with the Aristotelianprinciples of coherence, unity, and completeness. Sanchis then takes his search beyond literary boundaries as he brings science (quantum physics and medicine in particular) into his thought tomake current conceptions of time, space, and observation evolve. These three concepts, that quantum physics redefines outside the Cartesian logic, are usually dealt with in drama as immanent realities. The assumed space-time unity draws indeed a threshold drama rarely dares to cross. However, this is the very limit the playwright seeks to overstep by building a representation of the world based on scientific conception. These three concepts form thereon a new intercessor likely to fuel this drama deconstruction
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Cerigioli, Marcelo Maciel. "Rafael Alberti: leituras do Museu do Prado." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-22082012-115640/.
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A presente dissertação analisa os livros sobre o Museu do Prado, A la pintura (1948) e Noche de guerra en el Museo del Prado (1956), ambos do escritor espanhol Rafael Alberti, escritos na Argentina, durante seu longo exílio. A investigação parte da contextualização de Alberti, que nos leva a uma aproximação ao tema, o Museu do Prado, tratado de maneira diferente nas duas obras. Na sequência, é analisado o livro A la pintura e, em seguida, a peça de teatro Noche de guerra en el Museo del Prado.This study analyzes the books about the Prado Museum, A la Pintura (1948) and Noche de guerra en el Museo del Prado (1956), both of spanish writer Rafael Alberti, written in Argentina, during his long exile. The investigation parts from the context of Alberti, that leads to an approach to the subject, the Prado Museum, treated differently in the two books. In the sequence is analyzed the book A la pintura and then the piece of theater Noche de guerra en el Museo del Prado.
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Anderson, Sheri L. "Status & solidarity through codeswitching: three plays by Dolores Prida." Thesis, Texas A&M University, 2004. http://hdl.handle.net/1969.1/536.
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This analysis employs the sociolinguistic framework of status and solidarity (Holmes, 2001) to examine the use of codeswitching on the relational development between the characters in three plays by Cuban-American playwright Dolores Prida. The three plays discussed are Beautiful Señoritas (1978), Coser y cantar (1981) and Botánica (1991). Linguistic scholars recognize the lack of linguistic analysis of literary texts; specifically, codeswitching at present is not fully explored as a linguistic phenomenon in written contexts. Furthermore, Prida's works have never before been appraised using linguistic methodology. Hence, this work aims to add to scholarly research in the fields of codeswitching, discourse analysis, and literary linguistics, using the status and solidarity framework to examine the codeswitching in Dolores Prida's plays. Dolores Prida is a feminist and Hispanic dramatist whose central theme is the search for identity of Hispanic immigrants, specifically women, in the United States today. Due to her ideological stance, it is expected that a strong emphasis on solidarity rather than status and the use of affective rather than referential speech functions are present in the relationships in her plays. Accordingly, the analysis of Botánica reveals that indeed codeswitching between the characters does affect their relational development in maintaining solidarity and intimacy. However, the relationships found in Beautiful Señoritas and Coser y cantar do not offer such conclusions, due to the variable nature of the relationships identified. Further analysis of these and other literary works will more accurately determine benefits of the status and solidarity framework as applied to the codeswitching research.
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Luciano, Fabio. "A representação do \"discreto\": a filha do comendador em el burlador de Sevilla." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-25052011-173329/.
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Tomando como referenciais teóricos e críticos autores como Aristóteles, Lope de Vega, Porqueras Mayo, Jaime Cortesão e João Adolfo Hansen e levando em conta os principais aspectos culturais da sociedade espanhola do século XVII, este trabalho tem seu foco de interesse na personagem Dona Ana de Ulloa, Filha do Comendador em El Burlador de Sevilla, que é arrebatada por Dom Juan. Buscou-se entender como o modo de ser discreto se articulava na corte espanhola da época, tentando esclarecer as motivações dessa atitude nas ações da Filha, pois será através dessa poética da moralidade que ocorrerá, ao final da ação dramática, o restabelecimento da ordem social. Para a compreensão da atitude da protagonista, procedeu-se a uma discussão, tanto no âmbito moral quanto no literário, do conceito e das conotações do termo discreto na época. A dissertação se divide em três partes. A primeira focaliza aspectos sociais, culturais e históricos da sociedade espanhola do século XVII presentes em El Burlador de Sevilla, atentando para a atitude discreta como um elemento que diferencia Dona Ana das outras personagens femininas da peça. A segunda procura destacar a Filha do Comendador, interpretando-a pela atitude incisiva e mostrando como ela se choca com o perfil de mulher predominante na época, ou seja, aquela que em geral era tratada pelos homens como objeto e apreciada por sua beleza, sua nobreza e seu preparo para o casamento. Já a terceira parte centra-se no relacionamento entre Dona Ana e as personagens masculinas, no que ressalta a questão da representação do querer e do poder, provocando o desencadeamento de uma dupla justiça: a terrena, posta nas mãos do Rei e reafirmada pela atuação do Comendador, e a divina, que acaba por sugerir um ideal de liberdade católico, personificado no Convidado de Pedra. Assim, a protagonista se debaterá entre preceitos relacionados ora a uma justiça dos homens, ora a uma justiça de Deus. As considerações finais amarram essas análises, concluindo pela universalidade da personagem feminina representada por Dona Ana, que é recriada em autores de diversas tradições culturais, bem como de épocas distintas.Using as theoretical and critical references authors like Aristotle, Lope de Vega, Porqueras Mayo, Adolfo Jaime and John Hansen and taking into account the main cultural aspects of the Spanish society during the seventeenth century, this work focuses on the character of Dona Ana Ulloa, daughter of the Commendator in El Burlador de Sevilla, a lady who is seduced and carried out by Don Juan. Its purpose was to understand how the concept of discreet was sustained in the Spanish court at that time, trying to clarify the motivations of this attitude in the protagonists actions, once the social order will be restored through this kind of morality poetics at the end of the dramatic action. For the understanding of the main characters attitude, a discussion both morally and literarily was carried out about the concepts and also the connotations of the word discreet at that age. This work is divided into three parts. The first one focuses on social, cultural, and historic aspects of the Spanish society during the 17th Century that are present in El Burlador de Sevilla, being alert to the discreet as the aspect that differentiates Dona Ana from the other female characters in the play. The second one tries to detach the Commendators daughter, interpreting her through her incisive attitude and showing how she conflicts with the predominant female profile at that epoch, that is to say, the woman who was treated as an object by men and appreciated because of her beauty, her nobility, and her readiness for marriage. Finally, the third part deals with the relationship between Dona Ana and the male characters, through which arises the problem of the representation of wanting and being allowed to, resulting in a double justice: a terrestrial one, administered by the King and reaffirmed by the role of the Commendator; and a divine one, a kind of justice that suggests a catholic ideal of liberty which is personified in the stone guest. So, the protagonist will be struggling between precepts related to a justice of men or a justice of God. The final considerations bind these analyses and conclude for the universality of the female persona that Dona Ana represents, once she is re-created by authors from diverse cultural traditions, as well as diverse epochs.
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Cordone, Gabriela. "El cuerpo presente : texto y cuerpo en el último teatro español (1980-2004) /." Lausanne : Sociedad Suiza de Estudios Hispánicos, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9788479560492.
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Lafuente, Eva. "La représentation de l’Amérique hispanique dans la littérature et l’iconographie espagnoles entre 1838 et 1885." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20087.
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Loin d’avoir provoqué l’indifférence des Espagnols, l’Amérique hispanique a attiré le regard péninsulaire au lendemain des indépendances américaines et encouragé une production littéraire et iconographique continue depuis le début de l’ère isabelline jusqu’aux premiers temps de la Restauration. Constitué de près de 300 œuvres dramatiques, romanesques etplastiques, le corpus réuni et analysé dans le cadre de cette thèse montre qu’une production littéraire et artistique sur l’Amérique hispanique traverse bien le XIXe siècle péninsulaire. Afin d’en dégager les caractéristiques et l’impact sur l’imaginaire collectif espagnol, nous avons mis en lumière les spécificités des modes de production et de diffusion de chacun des supports artistiques. Cette production, fortement conditionnée par les moules artistiques préétablis, a favorisé la construction d’une imagerie américaine collective, notamment à travers la cristallisation d’images type qui circulent entre les différents supports. Dès lors, si les oeuvres elles-mêmes sont pour la plupart tombées dans l’oubli, elles demeurent néanmoins le reflet du regard porté par les Espagnols sur le continent à une période charnière des relations entre l’Espagne et l’Amérique hispaniqueFar from leaving the Spaniards indifferent, Hispanic America has drawn Spanish attention after its independence and fostered a continuous literary and iconographic production since the beginning of the era isabellina to the early days of the Restoration. Consisting of nearly 300 plays, novels, paintings and sculptures, the corpus collected and analyzed in this thesis shows the existence of an actual literary and artistic production about Hispanic America through the nineteenth century in Spain. In order to identify its characteristics and its impact on the social imaginary of Spain, we have highlighted the specific modes of production and distribution of each artistic media. This production, heavily influenced by preexisting artistic standards, has favored the construction of a collective American imagery, particularly through the crystallization of images that circulate between the different media. Therefore, although most of these works have sunk into oblivion, they remain a reflection of the way the Spaniards looked at the continent and of the need to redefine and legitimize the relationship between Spain and the young American republics
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Singletary, Savannah M. "Theatrical Texts and Contexts: Poe and Hawthorne’s Fictional Women." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4861.
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Edgar Allen Poe and Nathaniel Hawthorne are arguably two of the most highly read and heavily debated nineteenth-century antebellum authors in America. Their writings fascinate readers, while their character depictions, particularly their characterizations of fictional women, prompt intense academic debate. This thesis examines the previously less-studied historical developments surrounding Poe and Hawthorne in the antebellum era that shaped their approach to writing fiction. In particular, this study scrutinizes the effects of the development of a newly popular art form, ballet, the ascendency of female authorship, and the impact of American theatrical reform upon antebellum authors’ authorial faculties, especially Hawthorne and Poe.
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London, John. "Reception and renewal in modern Spanish theatre : 1939-1963." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357661.
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London, John. "Reception and renewal in modern Spanish theatre : 1939-1963 /." Leeds : W. S. Maney, 1997. http://catalogue.bnf.fr/ark:/12148/cb370091521.
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King, Errol LeRoy. "Resurrecting Lope's Autos." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/815.
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By the turn of the seventeenth century, the auto sacramental quickly became the most elaborate dramatic genre in Spain. Shortly after the Council of Trent, professional playwrights replaced clerics who had previously written autos for the Corpus Christi celebrations held each year, but none were more influential than Lope de Vega in refining thematic, literary, and staging elements and techniques. At the middle of the nineteenth century, critics began to study the genre that a royal decree had banned almost a century earlier; however, few have dedicated much time to Lope's autos. As a result, most critics have misunderstood Lope's contributions to the genre. This study addresses some of the issues that scholars have particularly misunderstood or ignored, namely, Lope's treatment of the Eucharistic theme in his autos, the level of dramatic unity displayed in his Corpus Christi plays, and the contribution of spectacle to the overall performance. Using a textual analysis of three of Lope's autos, I conclude that Lope could and did write profound, unified liturgical plays designed to disseminate Catholic dogma in an effective and entertaining manner. Each of the three autos used in this study, Las aventuras del Hombre, El viaje del Alma, and Los dos ingenios y esclavos, presents a protagonist representing mankind, who must learn to disregard evil influences faced in mortality and turn to Christ and the Eucharist for salvation. These elaborate liturgical performances, whose budgets exceeded those of the popular comedias of the day, all took place in city plazas around the country. In order to understand the deserved popularity that Lope's autos clearly enjoyed in their original setting, scholars need to return to the texts themselves and not merely rely on criticism.
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Doyle, Charlotte J. "The actor, theatre and theatricality in Spanish film from 1952-1989." Thesis, Aberystwyth University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263295.
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Fernández, Rodríguez Daniel. "Las comedias bizantinas de Lope de Vega: caracterización genérica, tradición y trascendencia." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/400700.
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En esta tesis doctoral se ofrece una propuesta de género teatral, las comedias bizantinas de Lope de Vega. Para llevar a cabo esta caracterización genérica, se han tenido en cuenta tanto sus rasgos temáticos y la técnica teatral como la tradición literaria y las fuentes de las que emanan, además de su gran trascendencia en el desarrollo histórico del género. Las comedias objeto de estudio basan su argumento en una serie de temas y motivos que se remontan a las novelas griegas de Heliodoro y Aquiles Tacio, máximos modelos y exponentes de la denominada ‘novela bizantina’, y que fueron renovándose a lo largo de los siglos hasta llegar a Lope por muy distintos cauces. De ahí la pertinencia de referirnos a estas obras en tanto que ‘comedias bizantinas’ (con los debidos límites y matices), sin perjuicio de otras posibles denominaciones o agrupaciones genéricas que engloben parte o la totalidad de las piezas estudiadas, las cuales se han discutido con detenimiento.
Por lo que atañe al plano argumental, estas obras teatralizan las peripecias de unos jóvenes enamorados que se ven forzados a separarse y superar una serie de obstáculos (raptos, cautiverios, naufragios, acechanzas amorosas) hasta poder reunirse de nuevo, pero que se mantienen fieles el uno al otro incluso en las circunstancias más adversas, esquema que presenta algunas variantes de no poco interés. En cuanto a la técnica teatral y la puesta en escena, las comedias bizantinas se acercan más bien al modelo de teatro pobre, de modo similar a las palatinas, urbanas y picarescas, pero destacan ante todo por el empleo de ropas y disfraces de cautivos y musulmanes, los amplios elencos y la abundancia de cuadros (poco marcados escénicamente).
La tradición bizantina, en la que se inscriben estas comedias y a cuya reconstrucción está dedicada la segunda parte, tiene sus orígenes remotos en las novelas griegas, pero abarca también exponentes más modernos como la novela bizantina del siglo XVI, las historias caballerescas breves, las novelle italianas o algunas piezas tempranas de la Comedia Nueva, a las que Lope sigue más de cerca y que incluso llega a imitar directamente.
Las comedias analizadas tuvieron una gran relevancia en la evolución histórica del género bizantino, tanto en el teatro como en la novela. Así lo sugieren los abundantes casos de reescritura que se han podido desentrañar, sobre todo en el terreno de la novela corta, pero que afectan también al teatro y a El peregrino en su patria. En esta tercera y última parte se propone además un primer panorama acerca del desarrollo del género bizantino en el teatro del Siglo de Oro.In this doctoral thesis I aim to explore the conception of a distinct theatrical genre: the “comedias bizantinas” by Lope de Vega (1562-1635). In order to undertake this exploration, I have analysed their thematic features and theatrical technique, as well as their literary tradition and sources, but also their importance in the historical development of this genre. The plots of these plays are based on a handful of themes and motifs that hark back to the Greek romances by Heliodorus and Achilles Tatius —supreme models of the so-called “novela bizantina”—, that were renewed over the centuries until they reached Lope via different paths. Therefore, in my opinion, it is appropriate to call them “comedias bizantinas” while being aware of the limitations of and grey areas within this name, and without detriment to other possible critical categories that could include a part or all of these “comedias”, which I have also discussed. Some otherwise interesting exceptions notwithstanding, these plays dramatise the unforeseen incidents suffered by a pair of young lovers who are forced to overcome numerous obstacles (abductions, slavery, shipwrecks...) until they manage to meet again, and who always remain loyal to each other, even under the most adverse circumstances. As for their theatrical technique and staging, these plays are very simple, similar to genres such as “comedias urbanas” or “palatinas”, but they stand out due to the use of captives’ and Muslims’ costume, extensive casts and a large number of scenes. The tradition to which these plays belong —which I have tried to detail in the second part of my thesis— has its origins in the Greek romances, but extends to modern works such as the “novela bizantina”, short chivalric tales, the Italian “novelle” and some early Spanish plays from the sixteenth century, which Lope follows closely and occasionally even directly imitates, as I have attempted to prove. These plays by Lope had a great influence on the historical evolution of their genre, as much in Golden Age drama as in romances. This can be deduced via several rewriting processes that I have explained, mainly concerning short stories, but also various other plays and “El peregrino en su patria”. In this third and last part of my thesis I have also attempted to sketch the development of the Byzantine genre in the Golden Age drama.
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Wilson, Anna Elisabeth. "Argentine theatre in twenty-first century Barcelona : cultural exchange and (trans)national identities." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8679.
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This thesis examines the impact of Argentine theatre on Barcelona’s stage culture in the twenty-first century. Catalan theatre is caught up in conflicting cultural discourses that centre on the relation between language, politics and identity, tensions further compounded by globalisation and changing patterns of migration. Although publications in this field demonstrate the complexity of the inter-relationship of theatre to cultural identity (as with Sharon Feldman, In the Eye of the Storm [Bucknell University Press, 2009]; Maria Delgado, ‘Other’ Spanish Theatres [Manchester University Press, 2004]; Lourdes Orozco, Teatro y política en Barcelona (1980-2000) [Asociación de Directores de España, 2007]; Helena Buffery, Shakespeare in Catalan [University of Wales Press, 2007] etc.), there remains a need to articulate Catalan theatre’s relationship with its Hispanic “others” in terms that move beyond the separatism of the language binary. The aim of this thesis is to demonstrate how the presence of Argentine theatre allows for intercultural encounters that are built around the concept of mutual exchange. By drawing on an extensive range of cultural theory, the thesis sets out to explain both the extent and limitations of this exchange, focussing in on concepts of identity, gender and nation. The thesis is split into three sections: the first engages with existing debates and examines the historical development of cultural and theatre connections between Buenos Aires and Barcelona; the second looks at the aspects of infrastructure which have most clearly helped to facilitate the contemporary link: the Sala Beckett, international festivals, Focus and the Teatre Lliure; the third takes Javier Daulte, Victoria Szpunberg, Rafael Spregelburd and Rodrigo García as four indicative case studies to demonstrate the range of influence and practice. The conclusion examines the legacy of the Argentine-Catalan theatre link, drawing together the insights gained into modes of identification and cultural practices associated with theatre in Barcelona.
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Rovecchio, Antón Laeticia. "Memoria e identidad en el teatro de Laila Ripoll, Angélica Liddell e Itziar Pascual." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/294593.
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En el contexto del teatro posdramático, la historia se ha revelado un hito fundamental que abre un diálogo subjetivo para la re-construcción de una memoria personal y colectiva con especial énfasis en la recuperación de acontecimientos concretos y de voces oprimidas y, por tanto, silenciadas por la Historia oficial. En este marco se inscribe la presente tesis doctoral que explora la dramaturgia de tres autoras contemporáneas, todas ellas nacidas en la década de 1960, desde esta recuperación memorística y, por consiguiente, este cuestionamiento identitario, muy presentes en sus piezas. En efecto, en los tres actos que analizan pormenorizadamente las obras de Laila Ripoll, Angélica Liddell e Itziar Pascual se pone de manifiesto esta necesaria búsqueda que ha permitido crear una visión panorámica, basada en un recorrido temático que abarca los textos publicados a partir de la década de 1990 hasta el año 2010. Si bien cada una parte de presupuestos distintos, las tres dramaturgas se reencuentran incesantemente en la floración de personajes femeninos que problematizan el legado patriarcal y, por ende, su lugar en la sociedad, pero las autoras también denuncian el quietismo social anclado en una repetición constante de los patrones preestablecidos. Se abre, así, una profunda reflexión sobre el pasado, el presente, pero también el futuro en una clara necesidad de re-construir parte de nuestra propia identidad.In the context of postdramatic theatre, the history has been revealed a fundamental landmark that opens a subjective dialogue for the re-construction of personal and collective memory with special emphasis on the recovery of specific events and oppressed, and thus, silenced voices and by official History. In this framework, this doctoral thesis explores the play-writing of three contemporary authors, all born in the 1960s, from this memory recovery and, therefore, the identity question, very present in their pieces. Indeed, the three acts, that analyze in detail the plays by Laila Ripoll, Angélica Liddell and Itziar Pascual, reveal this necessary search that allow me to create a panoramic view, based on a thematic itinerary covering texts published from the nineties until 2010. Assuming that each one of them part from different vision, the three playwrights converge incessantly in the emergence of female characters who problematize the patriarchal legacy and, therefore, their place in society, the authors also report the social quietism anchored in a constant repetition of pre-establish patterns. In this wait, they open a deep reflection on the past, on the present but also on the future in a clear need to re-build part of our identity.
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Faura, Sánchez Francisco Manuel. "Juan Mayorga y el teatro de la memoria en el contexto social y literario de comienzos de milenio." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668078.
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El estudio de las nuevas tendencias dramatúrgicas contemporáneas no se encuentra alejado de todo lo político y social que está gestándose en la sociedad occidental actual. Los cambios producidos en este comienzo de milenio debido, en gran parte, a las luchas de poder entre lo nuevo y lo tradicional, han originado unas luchas entre todos los ciudadanos que están más o menos vinculados al mundo de la cultura. Por este motivo, este estudio muestra todos esos cambios a través de una mirada crítica a la sociedad, no por el mero hecho de mostrarse escéptico con toda la realidad que rodea a esta época, sino por tratar de una manera dura y rigurosa los tópicos que rodean a los nuevos creadores.
Para concretar estas nuevas tendencias en un solo nombre y a raíz de lo expuesto a lo largo del trabajo, la aproximación a su dramaturgia y los ensayos académicos, Juan Mayorga ha estudiado en su creación una visión crítica y filosófica de la sociedad, así como una desconfianza a las palabras y verdades establecidas a lo largo de la tradición. Juan Mayorga se ha convertido en un autor atrayente para los académicos por su lenguaje dramático y su puesta en escena. Su trabajo como dramaturgo y su reciente inclusión en la Real Academia Española le confieren un mérito lingüístico y filosófico que impregna todo su trabajo como dramaturgo. Los espectadores que asisten a sus eventos teatrales han de entrar en el juego político-teatral que él mismo propone.The study of the new contemporary dramaturgical tendencies is not far from everything political and social which occurs in the western society. The changes produced in this beginning of the millennium due, in large part, to the clash of cultures between the new and the traditional, have led to struggles among all citizens who are linked to the culture world. For this reason, this study shows all these changes through a critical look at society, not just keeping skeptical of all this reality what surround this time, but treating in a extensive and rigorous way the topics that wraps up the new creators. To concretize these new tendencies in a single name and following the exposition throughout the work, the approach to his dramaturgy and the academic essays, Juan Mayorga has studied in his creation a critical and philosophical point of view of the society, as well as a distrust to the words and truths established throughout the tradition. Juan Mayorga has become an attractive author for academics because of his dramatic language and his staging. His work as a playwright and his recent inclusion in the Royal Spanish Academy give him a linguistic and philosophical merit that spreads out all his playwright work. The spectators who attend their theatrical events have to enter into the political-theatrical game that he proposes.
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Mason, T. R. A. "A critical edition with introduction and notes of Pedro Calderon de la Barca's La Desdicha de la Voz (1639)." Thesis, University of Newcastle Upon Tyne, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334754.
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McCarthy, J. "Teatro de urgencia : propaganda theatre in the Republican zone during the Spanish Civil War 1936-1939." Thesis, Swansea University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.638044.
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The thesis examines the teatro de urgencia which was written to fulfil a variety of civilian and military tasks felt by the Republican authorities to be necessary for the effective prosecution of the Civil War. It attempt to locate teatro de urgencia within the broad spectrum of European political theatre through an introductory survey which traces its debts to the agitational theatre of the Weimar Republic, early Soviet theatre experiments such as the Prolekult and to the indigenous tradition of Spanish social drama. Subsequently, the development of the teatro de urgencia repertoire and its performance is traced in detail in order to offer a thorough account of how theatrical propaganda was conducted during the Civil War and the extent to which it was successful in one of its key aims - that of reaching the pueblo. This involved consideration of actor-audience relationships and, in Chapter Three, an exploration is made which suggests that teatro de urgencia offers evidence of important innovation in this respect. Chapters Four to Seven offer a detailed examination of a wide range of teatro de urgencia texts. These texts, hitherto neglected or lost, have been recovered from archives, libraries and surviving authors. Their discussion is structured so as to offer a comprehensive analysis of the genre. Initially, the portrayal of the Nationalist enemy is examined before an analysis is made of the presentation of a dominant figure of the drama, the Republican soldier. Discussion of the important concepts of civic and military duty is followed by examination of the role of pueblo in the drama. The thesis argues that teatro de urgencia is a neglected aspect of European political theatre and is an unacknowledged contribution to the tradition of popular theatres. An accompanying volume reproduces four typescript plays by Luis Mussot not available elsewhere.
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Ahumada, Zuaza Luis. "El Teatro Infantil y Juvenil de Carmen Conde." Doctoral thesis, Universidad de Murcia, 2011. http://hdl.handle.net/10803/94519.
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In this research work addresses the question of the status of children´s theater and youth Carmen Conde. In turn is made a thorough study of historical-biographical which meant that literary Spain. Other aspects are addressed as: analysis of dramatic texts child, pedadoficus aspects thereof,subject index, etc. Accompany this study a wide and rich literature on the author and her child and youth drama.En el presente trabajo de investigación se aborda el estado de la cuestión del teatro infantil y juvenil de Carmen Conde. a su vez se realiza un profundo estudio histórico-biográfico de lo que supuso dicho género literario en la producción literaria de la autora y la España del siglo XX. Se abordan otros aspectos como: Análisis de sus textos dramáticos infantiles, aspectos pedagógicos de los mismos, índice temático, etc. Acompaña a dicho estudio una amplia y rica bibliografía sobre la autora y su dramaturgia infantil.
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Perez, Serrano Pilar. "La Rebelión de Los Esclavos: Tragedia y posibilidad en el teatro de Raúl Hernández Garrido." Thesis, Boston College, 2011. http://hdl.handle.net/2345/3295.
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Thesis advisor: Irene MizrahiThis study is an analysis of the theatre of the Spanish contemporary playwright Raúl Hernández Garrido. It explores in depth his tragedy Los engranajes and it applies (in a more referential manner) the results of this investigation to the rest of his plays: Los malditos, Los restos: Agamenón vuelve a casa and Los restos Fedra, included in the cycle Los esclavos. The author utilizes myth and greek tragedy intentionally in order to make readers reflect upon the concepts of destiny and the fragility of human action as well as the fragmentation, hopelessness and dissatisfaction of contemporary societies. My study demonstrates that the formal innovation of these plays and the use of tragedy as their argumental framework present not only a criticism about these concepts but also an approach towards change and a social ethic of hope founded in creative freedom and the cooperation between the text and all people involved in the creative process. As a theoretical frame of reference for my study I use texts from Sigmund Freud, Jacques Lacan, Friedrich Nietzsche, René Girard and Emmanuel Levinas. Their reflections about the genre of tragedy and/or the concept of the tragic shed light upon my analysis of themes such as human suffering, trauma, the abuse of power, violence and the ethics of responsibility in the works of our author
Thesis (PhD) — Boston College, 2011
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Romance Languages and Literatures
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Heuring, Denis [Verfasser], and Bernhard [Akademischer Betreuer] Teuber. "Verdrängen und Erinnern auf dem Theater : Bürgerkrieg und Diktatur im erinnerungskulturellen Theater Spaniens nach 1975 am Beispiel von José Sanchis Sinisterra, José Luis Alonso de Santos und Ignacio Amestoy Egiguren / Denis Heuring ; Betreuer: Bernhard Teuber." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2018. http://d-nb.info/1185979107/34.
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Malys, Andrea Marie. "Education, Theatre, and Federico Garcia Lorca: An analysis of La Barraca." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1431013540.
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Zaera, Isabel María. "Mujeres Sumisas, Mujeres Transgresoras en el Siglo XIX Español: una Aproximación a la Obra de Francisca Navarro y Joaquina García Balmaseda." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849614/.
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This research discusses the changing role of women in Spanish society during the nineteenth century through the works of Francisca Navarro and Joaquina Garcia Balmaseda. The thesis shows the break with the traditional image of the "angel del hogar" and the gradual incorporation of the social changes affecting women which were reflected in the female protagonists of the comedies written by such playwrights. By reading theoretical texts of the emerging feminist theory and through analysis of the main female characters, this study examines the changes regarding the established canon and its own evolution within the nineteenth century, from the works of a pioneer like Francisca Navarro in the first third of the century to those of Joaquina Gracia Balmaseda towards the end of it.
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Holmes, Rachel E. "Casos de honra : honouring clandestine contracts and Italian novelle in early modern English and Spanish drama." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6318.
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This thesis argues that the popularity of the clandestine marriage plot in English and Spanish drama following the Reformation corresponds closely to developments and emerging conflicts in European matrimonial law. My title, ‘casos de honra,' or ‘honour cases', unites law and drama in a way that captures this argument. Taken from the Spanish playwright Lope de Vega's El arte nuevo (1609), a treatise on his dramatic practice, the phrase has been understood as a description of the honour plots so common in Spanish Golden Age drama, but ‘casos' [cases] has a further, and related, legal meaning. Casos de honra are cases touching honour, whether portrayed on stage or at law, a European rather than a strictly Spanish phenomenon, and clandestine marriages are one such example. I trace the genealogy of three casos de honra from their recognisable origins in Italian novelle, through Italian, French, Spanish, and English adaptations, until their final early modern manifestations on the English and Spanish stage. Their seeming differences, and often radical divergences in plot can be explained with reference to their distinct, but related, legal concerns.
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Münder, y. Estellés Christina [Verfasser]. "Las representaciones del actor en la narrativa española del siglo XX / Christina Münder y Estellés." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2018. http://d-nb.info/1173656553/34.
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Bocianowski, Cécile. "Les dramaturgies du grotesque en Europe au XXe siècle." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040066.
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La thèse propose une lecture comparée de l’emploi du grotesque dans les théâtres français, polonais, belge francophone, germanophone, italien et espagnol. L’analyse comparée des écritures dramatiques comme du discours littéraire permet de dégager les spécificités du grotesque et de sa réception dans les diverses aires culturelles. La première partie est consacrée à la mise en place théorique de la notion dans les arts, des arts décoratifs à l’art dramatique, de la Renaissance au vingtième siècle. Une attention particulière est portée à la danse grotesque, jusque-là peu étudiée, ainsi qu’aux divergences entre les discours critiques occidental et oriental. La seconde partie constitue le cœur du travail par l’étude comparée des procédés grotesques selon trois axes : la déformation, la démesure et l’hybridité. Celle-ci permet de mettre en valeur les fonctions dramatiques de l’emploi de la marionnette et de la pantomime ainsi que l’inspiration des arts du cirque, de la foire et du cabaret. La troisième partie analyse l’hypothèse du genre dramatique grotesque en Europe au vingtième siècle. Une fois établi le cadre théorique de la réflexion sur le genre et au regard de la production dramatique la plus contemporaine, l’étude s’achève sur la détermination de la place du grotesque dans la création artistique comme dans la critique littéraire actuelle. En remettant en cause la périodisation traditionnelle du théâtre européen du siècle dernier, la thèse entend rendre sa place au grotesque dans la critique dramatique contemporaine comme mise en forme du difformeThis thesis proposes a comparative reading of the use of grotesque in French, Polish, French-speaking Belgian, German-speaking Italian and Spanish theatre so as to determinate the specificities of the grotesque and its reception in different cultural areas. It focuses in the first part on the theory of the notion in arts, from decorative to dramatic art, from Renaissance to the twentieth century. Special attention is given to the grotesque dance, which has been thus far insufficiently studied, and to the discrepancies between western and eastern critical discourses. The comparative analysis of the grotesque is conducted along three axes: deformation, excessiveness and hybridity. It emphasises the function of marionette, pantomime and the inspiration of circus, carnival and cabaret. The last part of the thesis concentrates on the hypothesis of a grotesque dramatic genre in Europe in twentieth century. Once established the theoretical basis of the reflexion upon genre, and in view of contemporary dramatic production, the thesis closes with the determination of the place of the grotesque in the creation and in the criticism. By calling into question traditional periodisation of European twentieth theatre, this thesis aims at giving its place to the grotesque in contemporary dramatic criticism as the shaping of the misshapen
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Simpson, Hope W. "The Invention and Impacts of Hell’s Atmosphere: A Study of the Influence of Sartrean Themes in Two Plays by Alfonso Sastre." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/168.
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In this thesis I will discuss the influence of Sartrean themes found in Jean-Paul Sartre’s plays: No Exit (Huis clos), Les Mouches (The Flies), and Dirty Hands (Les Mains sales), on the theater of Alfonso Sastre, particularly in the plays: Death Squad (Escuadra hacia la muerte), and In the Net (En la red). In No Exit, the famous quote “Hell is other people,” sets the standard for what type of discussion Sartre initiates in his theater. I will compare the historical context and the Hells that Sartre and Sastre both experienced during their time as active playwrights and how this influences the Hellish environments the two playwrights create for their characters in each of their plays. Following this study of context, I will compare the diabolical atmospheres created in the plays, how they are created and their impacts on the characters and text.
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Alexander, Steven Ralph. "Painting and the Comedia in the Spanish Golden Age with particular reference to the portrait in the theatre of Lope De Vega and other contemporary dramatists." Thesis, King's College London (University of London), 1997. https://kclpure.kcl.ac.uk/portal/en/theses/painting-and-the-comedia-in-the-spanish-golden-age-with-particular-reference-to-the-portrait-in-the-theatre-of-lope-de-vega-and-other-contemporary-dramatists(14181cda-ee96-42ec-b333-186387d8370e).html.
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Gutiérrez, Coto Amauri Francisco. "Homoafectividad y Nueva Izquierda en América Latina: Adaptaciones de la Obra de Senel Paz." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/594377.
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Social Science scholars study how the New Left - the wave of leftist governments in Latin America since 1999 - redefines leftism in the Post-Cold War. Part of this redefinition is a new social pact between the Queer community and those Latin American governments. Chapter 1 traces the ideological itinerary of this new social agreement and establishes the methodology of the study. El lobo, el bosque y el hombre nuevo (The Wolf, the Forest and the New Man) by Senel Paz reformulated the relationship between the dissident subjects of the patriarchy and the leftist state in Cuban society of the 1990s. Chapter 2 highlights Paz's text for its separation from the Cold War narratives centered on the leftist armed insurgent movements. Chapter 3 studies how the film adaptation of Paz's work globalized the argument and structured it within the Post-Cold War. Chapter 4 analyzes the theatrical adaptations of Paz's work made in Latin American countries after 1999. Two are compared from countries with New Latin American Leftist governments, Venezuela and Argentina, with others made in non-Latin American countries, the United States and Spain. The critical reception of the two theatrical adaptations done in Latin America showed the argument as part of their reality, in contrast to the representations made in the United States and Spain. Chapter 5 analyzes the repercussions of Paz's text in popular culture through the reggaeton "Fresa y chocolate."
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Péran, Bruno. "Le surtitrage : analyse d'une technique de traduction théâtrale et conception de nouveaux outils à partir d'un corpus de spectacles en Espagnol." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20090.
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La mondialisation n’est plus seulement une réalité économique et commerciale, elle concerne aussi les domaines culturels et artistiques. Dans ce contexte, la traduction joue un rôle majeur car elle facilite les échanges tout en conservant la diversité des langues et des cultures. En permettant la circulation des œuvres dramatiques et lyriques dans leur dimension spectaculaire, le surtitrage répond à cet enjeu du dialogue interculturel. Ainsi, il s’est imposé comme une technique de traduction à part entière, à mi-chemin entre la traduction théâtrale et la traduction audiovisuelle. Sa pratique connaît d’ailleurs un essor constant depuis son apparition, posant ainsi la question de sa professionnalisation et exigeant, par là-même, que l’on s’interroge sur les outils nécessaires au surtitreur. Pour y répondre, une analyse théorique du surtitrage est indispensable car ce dernier présente des spécificités propres qui concernent aussi bien les textes source et cible que l’opération de traduction qu’il engage. La réflexion traductologique doit être accompagnée d’une réflexion théâtrologique car le surtitrage apparaît, de fait, comme un élément qui s’ajoute à une scénographie. Quel que soit son degré d’intégration à la mise en scène, il n’est pas sans incidence sur le spectacle qu’il traduit. Outre cette approche théorique, ce travail s’appuie sur une expérience pratique du surtitrage pour en cerner les différents enjeux. Une telle articulation entre théorie et pratique a conduit à la conception de nouveaux outils, méthodologiques et informatiques (cahier des charges fonctionnel du logiciel Surtitéa), pour faciliter l’activité du surtitreur et accompagner sa professionnalisationGlobalization is no longer restricted to the economic and commercial spheres as the cultural and artistic worlds are now also affected by it. Within this context, translation plays a major role since it makes exchanges easier while maintaining the diversity of languages and cultures. In making possible the circulation of dramatic and lyrical works in their entire theatrical dimension, the practice of surtitles contributes to the elaboration of this intercultural dialogue. Hence, it came to be recognized as a specific technique of translation, half-way between theatrical translation and audiovisual translation. The practice of surtitles has been developing at a regular pace since its creation, raising thus the question of its professionalization and that of the tools required for such specific types of translation. To answer those questions, a theoretical analysis of surtitling is necessary because of its specificities concerning both the source and target texts and the very process of translation which it implies. A reflection on the theories of translation should be combined with a reflection on the theatrical field since the surtitles are, as a matter of fact, part of the scenography. No matter how much the surtitles are taking into consideration in the elaboration of the staging, their integration always has a consequence on the play they translate. Alongside this theoretical approach, this study is based on a practical experience in surtitling which has helped us to further delineate its features. This combination of theory and practice has resulted in the creation of new tools in the field of methodology and computing (practical guidelines for the users of the software Surtitéa) to ease the task of the translator and helps his professionalization
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Reyrolle, Séverine. "Théâtres à leur miroir (XVIIe et XXe siècles) : facettes françaises et francophiles d'un procédé à l'espagnole." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100071.
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Notre étude se propose de mettre au jour le dynamisme et la vie de procédés métathéâtraux proprement français qui ont pu paraître en sommeil pendant plus de deux siècles.À partir de pièces reposant sur les jeux de spécularité au sein du fonds dramatique du Siècle d’Or et de celui du théâtre français du dix-septième siècle, elle compare d’abord dans ces deux corpus les modalités de spécularité ainsi que les emprunts et aménagements français en la matière afin d’essayer de comprendre leurs causes et de dégager les archétypes formels, sémantiques et enfin scénographiques spécifiquement français. Elle révèle ensuite les facteurs qui ont permis à ces procédés de retrouver une nouvelle vigueur dans le théâtre français au vingtième siècle, tout en étudiant les changements opérés dans ces structures spéculaires et en repérant les tendances dominantes de la modernité à cet égard. Alors qu’un mouvement parallèle de remise à l’honneur des jeux spéculaires se remarque sur la scène espagnole du vingtième siècle, elle met enfin en lumière le fait que malgré la langue, ce sont les pièces spéculaires françaises qui ont inspiré maints pays d’Amérique latine dont Cuba, où l’activité théâtrale se signale par un étonnant dynamisme, de puissantes dramaturgies. Elle expose aussi évidemment sur les raisons de cet intérêt différencié pour le procédé, et pour sa pratique par des auteurs français, de l’autre côté de l’Atlantique.En partant d’un concept nouveau recouvrant sept formes majeures de spécularité dramatique et permettant d’établir une typologie examinant leurs modalités françaises de création et de fonctionnement, cette thèse se donne donc pour but de retracer et mettre au jour les transferts et les métamorphoses qu’a subis, depuis ses origines jusqu’au vingtième siècle, ce que nous avons nommé le « théâtre à son miroir français », afin de dégager l’universalité non seulement de ces formes mais aussi et surtout de certaines de leurs significations et de leurs réalisations scéniquesOur study aims to reveal the life and dynamism of the genuinely French meta-theatrical devices that may have seemed dormant for more than two centuries.It is based on plays which are founded on mirror dynamics, chosen within the drama of the Spanish Siglo de oro and the French seventeenth century theatre. It first compares the modalities of the specular mechanisms and the French borrowings and adjustments in both these corpuses in order to try and understand their causes and to bring out the formal, semantic and stage archetypes that are specifically French. Then it sets out the factors that enabled these devices to undergo a revival in the French theatre of the twentieth century, while studying the changes that appeared in the specular structures and identifying the dominant modern tendencies that characterize these structures. Although it is true that the mirror dynamics are also brought to life on the twentieth century Spanish stage, this study finally reveals that it is the French specular plays – though the language would indicate otherwise – that inspire many countries in South America including Cuba where the dramatic creativity finds its originality in its surprising dynamism and its powerful dramatic arts. This study also brings out the reasons that explain such a distinct interest of Latin American playwrights for the device and for its practice in the French theatre. This thesis produces a new concept covering seven major specular theatrical forms, which enables the establishment of a typology to study the French modalities of creation and operation. Its purpose is to retrace and reveal what transfers and metaphors « the theatre at its French mirror », as we chose to call it, has undergone, from its origins to the twentieth century, in order to bring out the universality not only of these forms but, most of all, of some of their meanings and stage achievements
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Toledo, Maria Cecilia Barreto de. "A representação dentro da representação, ou marcas dramática em três episódios do Quixote de 1615: \'A Dulcineia encantada\', \'A condessa Trifaldi\' e \'A vigem de Clavilenho\'." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-21082018-113207/.
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O efeito de teatralidade causado na mente do leitor pela narrativa das três encenações burlescas da segunda parte do Quixote A Dulcineia encantada, A condessa Trifaldi e A viagem de Clavilenho deu origem a este trabalho. A esses episódios correspondem os capítulos XXXIV-XLI, quando dom Quixote e Sancho passam uma temporada como hóspedes dos duques e, sem saber, são transformados em atores cômicos, para a diversão dos anfitriões e seus convidados. De acordo com a perspectiva crítica de Anthony Close e de Maria Augusta da Costa Vieira, a análise, sob a visão do cômico e racional, partiu de dois pressupostos. Primeiro, o de que o Quixote é uma obra de entretenimento cuja concepção deriva do clima artístico de seu tempo, e o de que Cervantes, paralelamente ao escritor de novelas, foi um dramaturgo apaixonado pelo teatro. Propôs-se então que as três tramas estão organizadas como um todo, com começo, meio e fim, sob as diretrizes da formação de três jornadas de uma ação dramática, constituindo uma unidade episódica. Daí se infere que os três episódios se incorporam à narrativa sob a forma da comédia, de modo diferente de tantos outros que permeiam a obra: eles apresentam uma estrutura complexa, possível de ser identificada com a da comédia. O enredo da Dulcineia encantada configura o ponto de união entre a prosa e a ação dramática, constituindo a primeira jornada. Os outros dois, formando a segunda e terceira jornadas, se associam ao primeiro unidos pelo mesmo tema, o da necessidade de o cavaleiro ajudar as damas em dificuldades. Ao mesmo tempo, os três episódios integram o desenvolvimento narrativo. Essa estratégia poética, que se assemelha ao que se chama teatro dentro do teatro, provoca o desdobramento da estrutura da composição, enfatizando o tema da imitação do mundo da cavalaria andante. A análise, sempre relacionando texto e contexto, focaliza na prosa os elementos estruturantes do teatro, não só as marcas dramáticas formais, mas também os fatores que transmitem a espetacularidade das encenações. O caminho percorrido para atingir o objetivo, sob o aspecto da composição poética, é o de primeiro comparar os episódios selecionados com a obra dramática cervantina para depois relacioná-los com as preceptivas poéticas e retóricas que circulavam na Espanha naquele final de século, principalmente a Philosophia Antigua Poética de Alonso López Pinciano, e Arte nuevo de hacer comedias de Lope de Vega. Ademais, para a compreensão dos aspectos socioculturais da narrativa, a pesquisa se apoia nos preceitos e códigos de conduta da sociedade de corte à época dos Áustrias, com ênfase em El Cortesano de Lluís del Milà, bem como nos estudos, crônicas e relatos históricos sobre as festas, públicas e palacianas. Nesse sentido, este trabalho demonstra a coerência da leitura dos três episódios como uma unidade episódica com começo, meio e fim, estruturados sob a forma de uma comédia singular, o que apresenta, dentro do cenário artístico-cultural daquelas primeiras décadas do século XVII, um outro experimento cervantino de uma nova maneira de contar histórias.The effect of theatricality caused in the readers mind by the narrative of the three burlesque performances of the second part of Don Quixote The enchanted Dulcinea, The countess Trifaldi and The journey of Clavileño gave rise to this work. These episodes correspond to chapters XXXIV-XLI, when Don Quixote and Sancho spend a season as guests of the dukes. Without knowing, for the amusement of the hosts and their invitees, the knight and squire are transformed into comic actors. According to the critical perspective of Anthony Close and Maria Augusta da Costa Vieira, the analysis, grounded on the comic and rational view, was established on two assumptions. First, that Don Quixote is a work of entertainment whose conception derives from the artistic climate of its time, and that Cervantes, parallel to the novel writer, was a playwright in love with theatre. In that light it was proposed that the three plots are arranged as a whole, with a beginning, middle and end, under the guidelines of the formation of three journeys of a dramatic action, constituting a single episodic unit. Hence it is inferred the three episodes incorporate the narrative in the form of comedy, differently from many others that permeate the work: they present a complex structure, possible to be identified with that of comedy. The enchanted Dulcineas plot configures the union point between the prose and the dramatic action, constituting the first journey. The other two, forming the second and third journeys, associate to the first by theme, the knights need to help the ladies in distress. At the same time, the three episodes integrate organically the narrative development. This poetic strategy, which resembles to the called theatre within the theatre, provokes the unfolding of the composition structure, emphasizing the theme of imitation of the knight errantry world. Thus, the analysis focuses on prose, always relating text and context, the structuring elements of the theatre, not only the dramatic formal marks, but also the factors that convey the spectacularity of the stagings. The path taken to achieve the objective, under the aspect of poetic composition, is to compare the selected episodes with Cervantes dramatic work to subsequently relate them with the poetic and rhetorical precepts circulating in Spain in the late XVIth century, mainly the Philosophia Antigua Poética of Alonso López Pinciano, and Arte Nuevo de Hacer Comedias of Lope de Vega. Furthermore, to understand the socio-cultural aspects of the narrative, the research is founded on principles and codes of society conduct from the court during the Habsburg period, with emphasis on El Cortesano de Lluís del Milà, as well as in the studies, chronicles and historical accounts about the public parties and palatial. In this sense, this work demonstrates be coherent to read the three episodes as a single episodic unit with a beginning, middle and an ending; structured in the form of a singular comedy, which features, within the artistic-cultural scenario of those first decades of the XVIIth century, another cervantine experiment of a new way of telling stories.
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Feuillastre, Anne Laure. "Le nouveau théâtre espagnol : la résistance politique, culturelle et esthétique d’un mouvement néo-avant-gardiste (1967-1978)." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100130.
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Cette thèse souhaite reconstituer l’histoire du Nouveau Théâtre Espagnol, courant marginalisé de la scène en son temps, dans une double optique : celle de la diffusion —dans ses multiples aspects— et celle de la caractérisation éthique et esthétique. Incluant aussi les pièces censurées et inédites, l’étude propose de faire revivre un mouvement dramatique et scénique novateur qui s’est développé en Espagne pendant le franquisme tardif et le début de la Transition (1967-1978), artistiquement expérimental, culturellement anticonformiste, esthétiquement anti-conventionnel et politiquement antifranquiste. La recherche de nouvelles propositions et de solutions scéniques a provoqué l’apparition d’une néo-avant-garde à la fin de la dictature ; ces productions étaient impossibles à contenir dans les limites structurelles du théâtre commercial (œuvres classiques, comédies d’évasion), ni même dans celles des propositions du Réalisme contemporain. La transformation voulue de la scène dramatique passait par une prise de conscience progressive de groupe —marginalisé de diverses manières— ainsi que par la création de nouvelles formes non aristotéliciennes (parfois inspirées de l’avant-garde scénique européenne et américaine) et de nouveaux modes d’expressions fondés sur la création langagière, la provocation verbale, l’allégorie et le symbole. Ce travail propose une réflexion sur la dénomination et le concept même du Nouveau Théâtre Espagnol, sur son contexte socio-culturel et politique —décisifs pour son essor et son développement— et veut offrir une approche d’analyse stylistique afin de préciser les caractères définitoires du mouvementThis Ph. D. thesis tries to reconstruct, under a double perspective, the history of the Spanish New Theatre, an artistic manifestation marginalised from the scenes on its times; the essay considers its extent –on multiple aspects– and its ethic and aesthetic characterisation. Including also censored and unpublished plays, this study intends to revive an innovative scenic and dramatic movement which developed in Spain during the late Francoism and the early Spanish Transition (1967-1978); it was artistically experimental, culturally non-conformist, aesthetically unconventional and politically anti-Francoist. The search for new scenic propositions and solutions provoked the appearance of a new avant-garde at the end of the dictatorship; its productions were incomprehensible within the structural limits of commercial theatre (classic drama, light comedies) or even contemporary Realism’s propositions. The transformation of the dramatic scene implied a progressive awareness of group –marginalised in many ways– and generated the creation of multiple non-Aristotelic forms (sometimes inspired in the European and American avant-gardes); it supposed also new modes of expression based on a creative language, verbal provocation and an extended use of allegory and symbol. These pages propose a reflection about the Spanish New Theatre’s name and very concept, on its socio-cultural and political context –capital for its birth and development– offering a stylistic analysis approach in order to specify the movement’s defining features