Academic literature on the topic 'Tragicomedia'
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Journal articles on the topic "Tragicomedia"
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Corfis, Ivy A. "Readers and Comedy in Celestina." Celestinesca 37 (January 16, 2021): 27. http://dx.doi.org/10.7203/celestinesca.37.20157.
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Este artículo investiga el papel de los lectores en la continuación de la Comedia a la Tragicomedia. Se analiza el género de Comedia a base de varias preguntas: ¿quiénes eran los lectores?; ¿cómo reaccionó el autor a la crítica de los lectores de la Comedia?; y ¿qué impacto tenían los lectores en la Tragicomedia? La conclusión que propone el artículo es que no sólo la Comedia sino la Tragicomedia forman parte del género cómico, según las formulaciones de la comedia romana y la humanística.
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Arce, Rafael. "Zama, la tragicomedia americana." El Hilo de la Fabula, no. 17 (November 6, 2017): 193–98. http://dx.doi.org/10.14409/hf.v0i17.6396.
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Este trabajo propone una lectura de la novela Zama (1956) de Antonio Di Benedetto. La obra de este autor ha sido leída en general como manifestación literaria de una negatividad propia del existencialismo. Tratando de superar esta negatividad, la lectura propone pensar a Zama en relación con el humor y el grotesco. La expresión de lo tragicómico podría proporcionar una nueva clave de lectura tanto de Zama como de la obra narrativa de Di Benedetto.
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López Degregori, Carlos. "Ofelia y Fernando, una tragicomedia." Lienzo, no. 041 (October 1, 2020): 46–53. http://dx.doi.org/10.26439/lienzo.2020.n041.4926.
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González, Aurelio. "Fernando de Rojas, Celestina: tragicomedia de Calisto y Melibea. Introd. y ed. crítica de Miguel Marciales. University of Illinois Press, Urbana-Chicago, 1985, 2 ts.: xxxii + 678 pp. (Illinois Medieval monographs, 1)." Nueva Revista de Filología Hispánica (NRFH) 35, no. 1 (January 1, 1987): 362–64. http://dx.doi.org/10.24201/nrfh.v35i1.637.
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García Valiente, Luis, and Antonia Martínez Pérez. "El uso de la erudición en las continuaciones argumentales de La Celestina." Estudios Románicos 28 (December 20, 2019): 259–68. http://dx.doi.org/10.6018/er/377071.
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El presente artículo analiza el uso del retoricismo (especialmente de las citas eruditas) en las continuaciones argumentales de La Celestina: La Segunda Comedia de Celestina (Feliciano de Silva, 1534), La Tercera Parte de la Tragicomedia de Celestina (Gaspar Gómez de Toledo, 1536) y La Tragicomedia de Lisandro y Roselia (Sancho de Muñón, 1542) con el fin de establecer comparaciones entre sí y respecto a la obra modelo. Para ello, este estudio se centra en aspectos como el número y tipo de citas eruditas, su acumulación y colocación, los personajes que las utilizan o la finalidad que pretenden. Asimismo, se incorporan cuadros sinópticos que clasifican dichas citas en cada una de las continuaciones, para una mejor comprensión de su alcance y significado. The present article analyses the use of rhetoric (especially of erudite figures) in the sequels to La Celestina: La Segunda Comedia de Celestina (Feliciano de Silva, 1534), La Tercera Parte de la Tragicomedia de Celestina (Gaspar Gómez de Toledo, 1536) y La Tragicomedia de Lisandro y Roselía (Sancho de Muñón, 1542), in order to establish a comparison with each other as well as with the primal work. To do it, this analysis focuses on aspects such as the number and kind of erudite figures, their accumulation and and positioning, the characters who use them or the goals they aim at. Moreover, a few synoptic charts have been added to classify the named figures in each one of the sequels for a better understanding of their scope and significance.
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BOTTA, Patrizia. "La contaminación en N, la traducción italiana de La Celestina." Creneida. Anuario de Literaturas Hispánicas 4 (December 30, 2016): 107–21. http://dx.doi.org/10.21071/calh.v4i.6388.
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En estas páginas se estudia un ejemplo de contaminación en la tradición textual de La Celestina, el de N, la primera traducción italiana de la obra (Roma 1506) que, aun derivando de una rama baja de la Tragicomedia en 21 actos, exhibe sin embargo constantes contaminaciones con la primitiva redacción del texto (ya sea de la fase manuscrita, ya de la fase impresa de la Comedia en 16 actos, o bien de la fase primeriza de la Tragicomedia en 21 actos). El contaminador de los textos es su antecedente español, y3, perdido, y de dicha contaminación, salvo N, no queda traza en ninguno de los testimonios coetáneos.
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Sevilla Arroyo, Florencio. "Amor, magia y tiempo en La Celestina." Celestinesca 33 (January 15, 2021): 173. http://dx.doi.org/10.7203/celestinesca.33.20094.
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«Amor», «magia» y «tiempo» son temas integrales en La Celestina gracias, sobre todo, a la magistral alianza que se establece entre los tres para llevar a buen puerto literario la intención última de la Tragicomedia. Concebida, ante todo, como magnífica y contundente reprobatio amoris, manipula con singular habilidad al tiempo y a la magia para arreciar la eficacia de la lección perseguida: el primero se comprime al máximo en unos cuantos días representados, mientras que se alarga implícitamente sin plazo, para evidenciar la precipitación vertiginosa del pecado amoroso; la segunda justifica, precisamente, la inmediatez de la caída pasional, agravando la culpabilidad de los intervinientes. Así, una comedia amorosa tan convencional como anodina, desemboca repentinamente, precipitada por las artes mágicas, en una tragicomedia admirable.
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Bizzarri, Hugo O. "Celestina y la «copia de sentencias entretejidas»." Celestinesca 32 (January 15, 2021): 51. http://dx.doi.org/10.7203/celestinesca.32.20107.
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Fernando de Rojas señala que uno de los aspectos que más le impactó del «aucto anónimo» era la «gran copia de sentencias entretejidas» que en él halló. No es extraño que Rojas aludiera a ella, pues era ésta una forma habitual de leer las obras literarias, práctica que se enseñaba en las clases de gramática. En este trabajo se estudiará ese proceso de entresacar sentencias que envolvió también a la Tragicomedia, según se puede advertir en las notas marginales que hizo un lector anónimo al volumen de la Tragicomedia hallado en el Cigarral de Toledo, los comentarios que realiza el anónimo glosador de la Celestina comentada y las reflexiones que hace en torno a estas «sentencias entretejidas» Gaspar von Barth (1624).
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Prieto, Remedios, and Antonio Sánchez. "Correcciones en la Tragicomedia suscitadas por críticas a la Comedia. Construcción textual de la Comedia inherente a prácticas tradicionales y el apoyo de Cisneros." Celestinesca 43 (January 16, 2021): 141. http://dx.doi.org/10.7203/celestinesca.43.20243.
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En este trabajo se analizan algunas de las correcciones incluidas en la Tragicomedia encaminadas a acallar críticas que había provocado la Comedia. El análisis permite identificar vestigios de una preexistente Comedia de Calisto y Melibea manuscrita, de final feliz y de estirpe humanística que fue «acabada» (reelaborada para la imprenta) por Rojas reorientándola a un final trágico moralizante. Se enfocan aspectos confusos que juzgamos fruto de ese proceso constructivo que advertimos en la Comedia y que, aunque se intentaron aclarar en la Tragicomedia, han generado controversias, tales como la hechicería, disparidades cronológicas, equívocos en los paratextos y autoría. El estudio conduce a establecer cuatro estadios redaccionales básicos reescritos sucesivamente hasta llegar a la versión de 21 autos y a percibir el apoyo de Cisneros a la moralización y publicación de la obra.
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Arata, Stefano. "Una nueva tragicomedia celestinesca del siglo XVI." Celestinesca 12, no. 1 (January 9, 2021): 45. http://dx.doi.org/10.7203/celestinesca.12.19672.
Full textDissertations / Theses on the topic "Tragicomedia"
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Boero, Simone Aparecida Alves Lima [UNESP]. "Um palimpsesto em andamento: formas e reformas de uma personagem azevediana." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/103487.
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boero_saal_dr_arafcl.pdf: 1342330 bytes, checksum: adbd99c984c7951513e05d833a3068ce (MD5)Este trabalho tem o objetivo de investigar a figura do malandro, num corpus selecionado dentre as obras de Arthur Azevedo, ―maior autor do teatro brasileiro cômico‖, segundo Guinsburg et al (2006). Nossa hipótese é a de que o dramaturgo, na criação dessa personagem central e significativa nas peças referidas, parte da convenção da comédia que estabelece o uso de personagens da camada média ou baixa da população, do substrato do criado astuto da Comédia Nova e de seus congêneres posteriores até chegar ao que denominamos malandro azevediano. Essa figura teria ali duas importantes funções: a de satirizar o governo e as elites por criarem condições para a disseminação tanto dos malandros quanto da malandragem e a de conferir recriação estética aos homens e mulheres, que, por serem do povo, rapidamente seriam esquecidos. A fim de comprovar essa ideia, dividimos o estudo em quatro partes, a saber: a primeira, cujo escopo é conhecer, brevemente, a vida, a obra e a crítica sobre A. Azevedo; em seguida, explanar acerca das relações entre trabalho e ociosidade estabelecidas pelos brasileiros de então, e averiguar, partindo do conceito de ―navegação social‖, os esquemas de sobrevivência empreendidos pelas personagens em algumas cenas do corpus. Na terceira seção, procuramos rastrear a utilização do criado ardiloso, na Comédia Nova, passamos pelos Zanni e por Arlequim, cotejamos ainda as figuras do trickster, do pícaro e a do próprio malandro. Por fim, munidos das noções de cômico e de satírico, buscamos interpretar o malandro presente na dramaturgia azevediana. O referencial teórico usado vincula-se a pesquisas de diversas áreas: antropologia social, dramaturgia, sociologia, historiografia teatral, história da vida privada, literatura cômica e/ou satírica, linguística e outras
Our aim is to investigate the figure of the crook within a corpus made up of some of Arthur Azevedo‘s works. Azevedo is ―the greatest Brazilian comic theatrical author‖, according to Guinsburg et al (2006). It is our hypothesis that this playwright bases this historical leading character on a comedy convention that determines the use of characters from lower social classes, from the streetwise orderly of New Comedy up to his later congénere and what we call today the ―azevedian crook‖. This character supposedly has two important purposes: to poke fun at the government and the upper classes for providing the conditions that allowed the dissemination of crooks and also the purpose of esthetically recreating men and women who would soon be forgotten because they belonged to the lower classes. To prove our theory, we divided our study in four parts: the first one is a brief look into the life, the work and the reviews about A. Azevedo; next, we intend to talk about the relation between work and idleness of the Brazilians who lived in that period. We also intend to look into the concept of social navigation and the survival strategies used by some characters from corpus. In the third section we focus on the sleazy servant of New Comedy, on Zanni and Harlequin and conclude the section with a look on trickster, picaro and the crook himself. Finally, we use the concept of comical and satirical to interpret the crook of Azevedo's drama. Our theoretical references comes from researches from several areas: social antropology, dramatics, sociology, theatrical historiography, history of private life, comical/satirical literature, linguistics among others
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Silva, Eduardo Neves da [UNESP]. "Jogo e contrajogo: o lúdico no teatro de Antônio José da Silva, O Judeu." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/91536.
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silva_en_me_arafcl.pdf: 422502 bytes, checksum: d3f2c2c1588c12579f8b34b1ea785ca2 (MD5)Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
As peças cômicas do luso-brasileiro Antônio José da Silva (1705-1739) — mais conhecido na História da Literatura pela alcunha de O Judeu — apresentam uma grande diversidade de recursos cênicos e literários cuja função primordial, além de provocar o riso espontâneo, é a de maravilhar os sentidos do espectador. Vários desses recursos, como os disfarces e os duelos — além dos trocadilhos e de outros expedientes de linguagem — são componentes de natureza lúdica, isto é, são pertinentes ao domínio do jogo. O objetivo deste trabalho é verificar, à luz dos estudos sobre o lúdico desenvolvidos pelo historiador Johan Huizinga (1872-1945) — e de outros estudos sobre as relações entre arte e ludicidade —, a hipótese de que o teatro de Antônio José da Silva configura-se tal qual um jogo, que se desdobra em competições amorosas, verbais e sociais. O corpus primário, sobre o qual incide a nossa análise, é constituído por três óperas joco-sérias do Judeu: Esopaida ou vida de Esopo (1734), Os encantos de Medeia (1735) e Guerras do Alecrim e Manjerona (1737). Cada elemento deste corpus representa, respectivamente, uma das três fontes principais da produção teatral do comediógrafo: a literária, a mitológica e a histórica
The comedies of Luso-Brazilian Antônio José da Silva (1705-1739) – known in the History of Literature by the nickname Jew – have a great diversity of scenic and literary resources, whose primary function, besides causing the spontaneous laughter, is the marvel of the senses of the viewer. Several of these resources, such as disguises and duels – as well as puns and other expedients of language – are components of playful nature; they present features of game. The objective of this project is to verify, in the light of studies on the playful developed by historian Johan Huizinga (1872-1945) – and other studies on the relationship between art and playful – the hypothesis that the theater of Antônio José da Silva is characterized as if it were a game that unfolds in loving, verbal and social competitions. The primary corpus of the research will consist of three Jew's operas joco-serious, namely: Esopaida ou vida de Esopo (1734), Os encantos de Medeia (1735) e Guerras do Alecrim e Manjerona (1737). Each element of this corpus represents, respectively, one of the three main sources of writer’s comic production: the literary, mythological and historical
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Handley, D. R. "The Pastor Fido, 'tragicomedia pastorale' : The evolution of a new dramatic form." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.384478.
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Torregrosa, Díaz José Antonio. ""Tragicomedia de Calisto y Melibea" : anotaciones críticas y textuales y versión modernizada." Doctoral thesis, Universidad de Murcia, 2015. http://hdl.handle.net/10803/316578.
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La Tragicomedia de Calisto y Melibea presenta tal cantidad de problemas textuales que constituye un caso único en la literatura española del Siglo de Oro. Es, sin duda, una de las obras más complicadas de editar. Contamos con ediciones antiguas que presentan multitud de lecciones diferentes, tenemos noticias de la existencia de otras hoy perdidas, podemos leer parte del primer acto en una copia de época, manuscrita y anónima, existen traducciones tempranas a diversas lenguas; nos ha llegado una versión metrificada, bastante fiel, de Juan Sedeño, de 1540. Y los mismos testimonios que en unos casos nos ayudan a tomar decisiones filológicas bastante seguras, o incluso definitivas, solo nos dejan otras veces la duda y la vacilación. Además, todavía hoy persisten en el texto numerosos pasajes cuyo sentido literal no ha sido desentrañado o ha sido mal explicado. Partiendo de la edición de la "Biblioteca Clásica" (Editorial Crítica 2000 y Real Academia Española 2011), hemos hecho un recorrido por los veintiún actos del texto celestinesco (y también por los llamados paratextos) para analizar y explicar una multitud de pasajes de la obra que aún hoy presentan problemas de fijación textual o de comprensión. Entre ellos, unos cuantos han suscitado un enorme interés crítico, pero otros muchos han vivido libres del asedio y el análisis, bien porque se daban por buenas determinadas lecciones en ellos, bien porque no han levantado sospecha de complejidad, bien porque se creía explicarlos adecuadamente, cuando no era así. El resultado de nuestro trabajo ha sido el conjunto de seiscientas notas que ofrecemos aquí. Notas de índole diversa y extensión variada: las hay sobre aspectos textuales, de interpretación e incluso sobre fuentes literarias; algunas, breves y concisas; otras, convertidas en pequeños artículos. Creemos que constituyen un aporte sustancial de novedades y una contribución valiosa para una futura edición crítica de Celestina. La segunda tarea que hemos acometido resulta, en apariencia, muy distinta de la primera y, sin embargo, emana de ella: una versión actualizada de la Tragicomedia pensada para acercar la obra a lectores que no poseen preparación filológica. Realizada sobre el texto crítico previamente debatido, la hemos llevado con la convicción de que era posible modernizar la obra sin traicionar en exceso el espíritu y la letra del original. Es una versión que traslada frase a frase la obra de Rojas, sin eliminaciones ni circunloquios que oculten una rehuida de los pasajes más dificultosos; una versión que respeta su sintaxis y otros aspectos que constituyen las señas de identidad estilística del autor; una versión moderna, pero no a lo moderno, pues hemos buscado siempre usar un vocabulario acorde a nuestro clásico. Estas características diferencian nuestro intento de las muchas versiones juveniles que llenan el mercado editorial, acríticas y sin otro interés que trasladar la trama. En consecuencia, creemos que permitirá a muchos lectores leer la Tragicomedia con más comodidad y sin perder el sabor del texto original.The Tragicomedia de Calisto y Melibea displays such an amount of textual problems that it represents a unique case in the Spanish literature of the Golden Age. It is undoubtedly one of the most complicated works to edit. On the one hand, we can take into account old editions that present multitude of different readings. We also have news of the existence of others which are lost today. It is possible to read part of the first act on a handwritten anonymous copy of the epoch. Besides, early translations to several languages are available, too. Even more, we have received a fairly faithful versified version of Juan Sedeño, 1540. However, the same texts that, in some cases, help us make quite safe or even definitive philological decisions, in others leave us in doubt and hesitation. In addition, there are still numerous passages whose literal meaning has not been unraveled or has been poorly explained. Starting from the edition of the "Biblioteca Clásica" (Editorial Crítica 2000 and Real Academia Española 2011), we have made an itinerary through the twenty-one acts of Celestina text (and also by the so called paratexts) to analyze and explain a multitude of passages of the work that even today present problems of textual fixation or understanding. Among them, a few have aroused enormous critical interest, but many others have lived free from discussion and analysis, either because certain readings were taken for good, they had not lifted suspicion of complexity, or it was believed they had been properly explained, when it was not so. The result of our work has been the set of six hundred notes provided here. Notes which are of diverse kind and varied in extension: there are some about textual aspects, interpretation and even about literary sources; some are brief and concise; others have turned out to become small essays. We believe they are a substantial contribution of novelties and a valuable enrichment for a future critical edition of Celestina. The second task we have undertaken looks very different from the first and yet it emerges from it: an modernized version of the Tragicomedia thought to set the work close to readers who do not possess philological knowledge. Emanating from the critical text previously discussed, we have undertaken this task with the conviction that it was possible to modernize the work without betraying too much the spirit and the letter of the original. It is a version that translates the work of Rojas sentence by sentence, without deletions or circumlocutions that hide an avoidance to face the most difficult passages; one that respects its original syntax and other aspects that constitute the signs of the stylistic identity of the author; a modern version, but not in modern fashion, as we have always sought to use a vocabulary in compliance with our classic. These characteristics differentiate our attempt of the many versions edited for young students. These editions, which fill the publishing market, lack a close readings and have no other interest than translating the plot. Consequently, we believe that our version will allow many readers enjoy the Tragicomedia with more comfort and without losing the flavor of the original text.
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Gontijo, Rosa Carlos Junior 1983. "O criado e o semideus = o tragicômico em O Precipício de Faetonte, de Antônio José da Silva." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269884.
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Orientador: Alexandre Soares CarneiroDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta dissertação tem o objetivo de analisar a personagem de Chichisbéu na peça O Precipício de Faetonte, de Antônio José da Silva (1705-1739), representada em 1739 no Teatro do Bairro Alto, Lisboa, Portugal. Partindo de perspectivas teóricas diversas, mas convergentes no sentido de compreender a pouco explorada dramaturgia do período, buscase um entendimento dos textos joco-sérios do comediógrafo. Observando as diferentes leituras do mito de Faetonte, originalmente contado por Ovídio (43 a.C.~18 d.C.) em suas Metamorfoses (séc. I d.C.), em comparação com a peça El hijo del Sol, Faetón (1662), de Calderón de La Barca (1600-1681), percebe-se no Judeu um outro tom na exploração da narrativa, usada apenas como mote, sem relação direta com grande parte das cenas da ópera. Tendo em vista que se reconhece a peça de Antônio José enquanto pertencente ao gênero tragicômico, procede-se uma análise do cômico, uma vez que cômico e trágico, mesmo que unidos num mesmo gênero, ainda preservam características distintas. Como o forma tragicômica foi amplamente difundido na Espanha no século anterior, com grande influência em toda a Europa, em seguida buscamos demonstrar como esta influência se deu em Portugal, mais precisamente nesta peça do Judeu. Como principal representante do cômico neste gênero teatral, identificamos a figura do gracioso, que se torna tema de um capítulo no qual se estudam as diversas facetas que este personagem-tipo representa em O Precipício de Faetonte, enquanto fonte de riso, entretenimento e entendimento do público em relação à fábula e às relações estabelecidas na cena. Por fim, busca-se o entendimento deste mesmo personagem (Chichisbéu, no caso) em suas relações com o galán e a relação da obra do dramaturgo com as preceptivas e técnicas de escrita teatral vigentes no período
Abstract: This dissertation is intented to analyse the character Chichisbéu in the play O Precipício de Faetonte by Antonio José da Silva (1705-1739), represented in 1739 at Bairro Alto theater, Lisbon, Portugal. Starting from different theorical perspectives, yet converging towards the comprehension of the little-explored drama of the period, it aims to understand the joco-serious texts of the comedy writer. Observing the different readings of Phaeton myth, originally told by Ovid (43 B.C.~18 A.C.) in Metamorfoses (cent. I A.C.) compared to the play El hijo del Sol, Faetón (1662), by Calderón de La Barca (1600- 1681), it is noticed in the Jew a different tone in the exploration of narrative, only used as a motto, without a direct relation to great number of the scenes of the opera. Since the play of Antonio José is regarded as belonging to the tragicomic genre, the proceeding is an analysis of the 'comic', once comic and tragic, even though gathered in the same genre, yet retain distinct characteristics. Considering that the genre of tragicomedy was widely spread in Spain in the previous century, with great influence throughout Europe, subsequentely we aim to point out how its influence took place in Portugal, more precisely in this play of the Jew. As the main representative of the comic in this theatrical genre, we identify the figure of gracioso, who becomes theme of a chapter in which are studied the various facets that this kind of character represents in O Precipicio de Faetonte, while source of laughter, enterteinment and understanding of the public concerning the plot-structure and the relations established in the scene. Finally, we seek the understanding of the character (Chichisbéu, in the case) in his relations to the galán and the relation of the playwright's work to the preceptives and writing techniques which existed in the period
Mestrado
Mestre em Teoria e História Literária
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Costa, Lilian Nunes da 1985. "Mesclas genéricas na "tragicomédia" Anfitrião de Plauto." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269082.
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Orientador: Isabella Tardin CardosoDissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem
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Resumo: O presente trabalho é constituído por uma tradução em prosa da comédia Anfitrião (Amphitruo) de Plauto e um estudo introdutório à peça. Na tradução, buscou-se resgatar - quer na versão para o português, quer em notas - efeitos poéticos presentes no texto latino, tratando, na medida do possível, de questões linguísticoestilísticas pertinentes aos versos plautinos. No estudo introdutório, apresenta-se um panorama da obra, com destaque para um tema intrínseco à peça: as mesclas genéricas. Desde o prólogo a personagem Mercúrio avisa que a peça será uma "tragicomédia" (tragicocomoedia, v. 59 e 63), por conta das personagens que participam da ação: reis e deuses (reges quo ueniant et di, v. 61), que ele afirma serem próprios das tragédias, e um escravo (seruus, v. 62), típica personagem cômica. Na análise de alguns trechos da peça, revelam-se não apenas elementos trágicos, mas também épicos (especialmente no discurso de batalha de Sósia, v. 186 - 247, 250 - 62) e até mesmo líricos (sobretudo a ária de Alcmena, v. 633 - 53); mas é possível que os dois últimos tipos de alusão genérica venham a confluir na obra por meio das referências ao próprio gênero trágico, o qual, como é notório, normalmente carrega consigo também algo da épica e da lírica. Uma observação mais atenta sugere, afinal, que em Anfitrião as menções e alusões a outros gêneros que não a comédia têm intento paródico, contribuindo para o humor da peça
Abstract: This research paper consists of a prose translation of Plautus' Amphitruo and an introductory study to the comedy. The translation aims at recovering (both on our Portuguese version and on footnotes) poetic effects found on the Latin text, considering relevant linguistic and stylistic issues that are pertinent to the Plautine verse. The introductory study presents an overview of the play, drawing special attention to an inherent theme: the genres miscellany. In the prologue Mercury informs that the play is a "tragicomedy" (tragicocomoedia, v. 59 e 63) due to the characters that take part in the action: kings and gods (reges quo ueniant et di, v. 61), which he qualifies as proper for tragedies, and a slave (seruus, v. 62), typical comic character. The analysis of some sections of the play reveals not only tragic features, but also epic (specially on Sosia's battle narrative, v. 186 - 247, 250 - 62) and even lyric ones (mainly Alcmena's aria, v. 633 - 53); perhaps both undertones come from the allusion to the tragic genre itself, that usually carries somewhat of epic and lyric. In spite of that, a more accurate observation suggests that in Amphitruo allusions and mentions to genres other than comedy intend to be parodic, contributing to the humor of the play
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Usandizaga, Miguel. "La escena tragicómica." Doctoral thesis, Universitat Politècnica de Catalunya, 1987. http://hdl.handle.net/10803/6094.
Full textAbstract:
Tomo 1. Parte didáctica.Estudio sobre las relaciones entre arte y vida y sus consecuencias sobre la forma del espacio escénico moderno.
Tomo 2. Parte reflexiva.
Definición de lo tragicómico como género del arte moderno desde el romanticismo hasta nuestros días.
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Usandizaga, Calparsoro Miguel. "La escena tragicómica." Doctoral thesis, Universitat Politècnica de Catalunya, 1987. http://hdl.handle.net/10803/6094.
Full textAbstract:
Tomo 1. Parte didáctica.Estudio sobre las relaciones entre arte y vida y sus consecuencias sobre la forma del espacio escénico moderno.Tomo 2. Parte reflexiva.Definición de lo tragicómico como género del arte moderno desde el romanticismo hasta nuestros días.
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Kurz, Lindsey H. "The Queer "Third Species": Tragicomedy in Contemporary LGBTQ American Literature and Television." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1525170405649783.
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Walker, Kim Pauline. "James Shirley, 'The Dukes Mistris' : an old-spelling edition." Thesis, University of Edinburgh, 1985. http://hdl.handle.net/1842/18677.
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James Shirley's The Dukes Mistris was licensed in 1636 and published in 1638. The play has not previously been edited in accordance with modern bibliographical standards; the only available text outside copies of the original Quarto is the modernised edition prepared by William Gi'fford and Alexander Dyce for The Dramatic Works and Poems of 1833. This edition aims to revive critical and dramatic interest in the play itself while establishing a text which will provide a sound basis for scholars and students of Renaissance drama alike. My edition is based on a collation of twenty copies of the 1638 Quarto (at least six of each of the three variant states which exist). All variant readings deriving from press correction are recorded. The original spelling has been retained and punctuation is emended sparingly. All emendations are included in the textual footnotes, and substantive emendations are discussed in the commentary. The commentary includes interpretive comments, glosses, textual notes, dramatic analogues and explanation of contemporary references. The Dukes Mistris, a tragicomedy, was written during a period when Charles I was ruling without Parliament and when prlciosite was flourishing at court. One of the most significant aspects of the play, I believe, is its relevance to the contemporary political and social situation.' The introduction to the edition discusses in some detail the thematic concerns of the play and their context: love and service, the royal prerogative and Platonic love. While the ideas of the play add considerable interest, they are set in a chain of love entanglements which are conventional in tragicomedy. Shirley's dramatic craftsmanship is approached from the perspective of tragicomedy and its conventions since the language, characterisation and structure of the play reflect his skilful blending of tragic and comic modes. The Dukes Mistris makes no profound statements but it is successful tragicomedy and effective theatre. In play-text, introduction and commentary, the staging of the play receives consideration in the hope that this edition will encourage production on the modern stage.
Books on the topic "Tragicomedia"
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Gil, Vicente. Tragicomedia de Don Duardos. Salamanca, España: Ediciones Colegio de España, 1996.
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Ana, Zamora, ed. Tragicomedia de Don Duardos. Madrid: Compañía Nacional de Teatro Clásico, 2006.
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Gil, Vicente. Tragicomedia de Don Duardos. Madrid: Centro Dramático Nacional-Teatro M. Guerrero-INAEM, 2006.
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El mediumuerto: Tragicomedia milenarista. Bogotá, D.C: Universidad Nacional de Colombia, Facultad de Artes, Maestría en Escrituras Creativas, 2010.
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García, Enrique Coello. Selección de candidatos: Tragicomedia. Quito, Ecuador: [s.n.], 1992.
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Rosa, Navarro Durán, ed. Tragicomedia de Lisandro y Roselia. Madrid: Cátedra, 2009.
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Andrade, Nora Elyda. Tragicomedia de Abelardo y Eloysa. Mérida: Editora Regional de Extremadura, 1988.
Find full textBook chapters on the topic "Tragicomedia"
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Scarborough, Connie. "Urban Spaces in the Tragicomedia de Calisto y Melibea." In Urban Space in the Middle Ages and the Early Modern Age, 537–66. Berlin, New York: Walter de Gruyter, 2009. http://dx.doi.org/10.1515/9783110223903.537.
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Hirst, David L. "Seventeenth-century pastoral and tragicomedy." In Tragicomedy, 18–34. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003269656-2.
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Hirst, David L. "Introduction." In Tragicomedy, 3–17. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003269656-1.
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Hirst, David L. "Old ways, new directions." In Tragicomedy, 120–29. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003269656-8.
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Hirst, David L. "Melodrama." In Tragicomedy, 65–81. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003269656-5.
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Hirst, David L. "Variations of melodrama: Chekhov and Shaw." In Tragicomedy, 82–99. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003269656-6.
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Hirst, David L. "French seventeenth-century tragicomedy." In Tragicomedy, 48–62. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003269656-4.
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Hirst, David L. "Twentieth-century pioneers." In Tragicomedy, 100–119. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003269656-7.
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Hirst, David L. "Comedy in tragedy: Elizabethan and Jacobean theatre." In Tragicomedy, 35–47. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003269656-3.
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Degenhardt, Jane Hwang, and Cyrus Mulready. "Romance and Tragicomedy." In A New Companion to Renaissance Drama, 417–40. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781118824016.ch30.
Full textConference papers on the topic "Tragicomedia"
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Romero, Loreto. "El cuerpo en pedazos: Violencia, erotismo y fragmentación en las ilustraciones de la “Tragicomedia de Calisto y Melibea”." In I Congreso Virtual del Círculo de Estudios de la Literatura Picaresca y Celestinesca (CELPYC). Círculo de Estudios de la Literatura Picaresca y Celestinesca (CELPYC), 2020. http://dx.doi.org/10.47537/celpyc2020.10.
Full textReports on the topic "Tragicomedia"
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Ilgenfritz, Pedro. Guide Me Without Touching My Hand: Reflections on the Dramaturgical Development of the Devised-theatre Show One by One. Unitec ePress, December 2016. http://dx.doi.org/10.34074/ocds.038.
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This essay is a reflection on some aspects of dramaturgy observed during the creation and development of One by One, a silent tragicomedy designed by the Auckland company, LAB Theatre, in 2011 and restaged in 2013. The emphasis of the essay is on pedagogical aspects at the core of the company’s work, as they inform the creative process and lead to the blending of the actor’s function into that of the dramaturg. The following discussion makes apparent the fact that this process of hybridisation, made possible by implementing features of devised theatre, emancipates the actor and brings improvisation to a better use. The play was based on the notion that theatrical action must be ‘suggestive’ rather than ‘descriptive.’ This idea originated in the works of Konstantin Stanislavski (1988) and Jacques Copeau (2000) and was developed by more recent theorists of dramaturgy into a practical framework for theatrical performance in general. The success of One by One depended very much on the implementation of these principles. The achievement was duly noted by reviewer Lexie Matheson (2011), who appreciated that One by One “exists on its own, doesn’t need explanation, doesn’t explain itself; it just unravels with delicacy and tenderness, like a good yarn should.