Search

Abordo en este ensayo la cuestión de la intermedialidad, en concreto –y valiéndome como ejemplo de uno de los medios más efímeros y deleznables, el teatro– cómo su misma condición de performance efímera, deleznable e inconstante puede servir para generar conceptos, o paraconceptos, de subjetividades políticas: crea conatos de constancia. Los operadores mayores son los conceptos de performatividad, intraducibilidad (entre lenguas y medios) y contingencia. El ejemplo principal es la obra de Pedro Calderón de la Barca, El príncipe constante (1629), así como la producción de esta de 1965 por Jerzy Grotowski. [ABSTRACT FROM AUTHOR]

Una comedia de Calderón, El purgatorio de san Patricio (publicada en 1636), y otra de James Shirley, Saint Patrick for Ireland (1640), tratan sobre la conversión de Irlanda al cristianismo llevada a cabo por este santo. Ambas siguen hagiografías distintas que en última instancia se remontan a una misma fuente, la Vita Patricii escrita en torno a 1185 por Jocelin de Furness. Este artículo compara con detalle las dos comedias con el objetivo de averiguar si Shirley se basó en El purgatorio de san Patricio. Además, se establecen las similitudes y diferencias en la presentación del mismo tema hagiográfico en estos dos autores. [ABSTRACT FROM AUTHOR]

This article investigates the resonances between the heroines Laura of Calderón's comedia El secreto a voces (1642) and Leonor of Sor Juana's Los empeños de una casa (1683). After first outlining the archetype of the dama tramoyera (the title bestowed on heroines of Golden Age comedias de capa y espada) and a key figure in Calderón's approach to comedy, I go on to trace the tactics and temperament of Laura, a late Calderonian version of the archetype, who is also a precursor of Sor Juana's heroine, Leonor, owing to her cerebral mask of modesty. The ability of Laura and Leonor to appear self-effacing when confronting intrusive authorities shields an underlying individualist stance. While Calderón's approach is grounded on his commitment to a woman's right to free will and equal humanity, Sor Juana extends this to education and free thought. Sor Juana's response to the Spanish dramatist confirms Calderón's ability to bring to light the increasingly outmoded position of women in his society while indicating her own political agenda, implicit in her enhanced version of a comic heroine crafted in the New World. [ABSTRACT FROM AUTHOR]

El presente estudio pretende mostrar la relevancia documental del manuscrito de Duelos de amor y lealtad conservado en la British Library. Se trata de un testimonio utilizado por los actores que representaron la comedia de Calderón con motivo del casamiento entre la Infanta María Luisa de Borbón y el Archiduque Pedro Leopoldo de Austria en 1764 en el Coliseo del Buen Retiro. Asimismo, fue el texto que emplearon los operarios encargados de la impresión de una suelta lujosa de esa misma representación. Por ello, nuestro análisis se estructura en dos apartados: el primero se centra en la adaptación que ha sufrido el texto. Se estudian los distintos elementos que un autor de comedias ha podido modificar en función de las circunstancias de representación; en el segundo se analizan las marcas que se han registrado en el manuscrito para demostrar que fue manejado por un cajista o componedor en un taller de imprenta. This paper aims to show the documentary importance of the manuscript of Duelos de amor y lealtad preserved in the British Library. It was a document used by the actors who performed the Calderón's comedy on the occasion of the wedding of Infanta María Luisa de Borbón and Archduke Pedro Leopoldo of Austria in 1764. In addition, it was the text employed by those who were responsible for the printing of a luxurious suelta of the same performance. For this reason, our analysis is divided into two sections: the first focuses on the adaptation that has taken place in the text. We will look at the different elements that an autor de comedias could have modified according to the circumstances; in the second section, we will analyse the diverse marks found in the manuscript to demonstrate that it was handled by a typesetter or a composer at a printer's workshop. [ABSTRACT FROM AUTHOR]

From his very earliest writings, art was always important for Georges Bataille. Rather than something static, art, for Bataille, always involves an experience and an exigency towards freedom and even the impossible. It was apparent from the very form of Bataille’s art review Documents, which juxtaposed heterogeneous images, texts and topics, that art was intended as an experience. Bataille found in Andalusia the kind of art that triggers an exigency, an excess or a form of ecstasy in the viewer or the participant, from the paintings of Picasso to flamenco performances. Art that evokes the potency for interior uprising is given form in the various figures of fleeting spirits, such as the will-o’-the-wisp or the genie called duende, as described by Lorca in “Play and Theory of the Duende” and illustrated in Calderón’s La dama duende [The Phantom Lady]. Bataille, who was moved by a performance he had witnessed at the Moulin Rouge, compared the spirited dance of the performers to the will-o’-the-wisps, the spirits that suddenly appear to unsuspecting wanderers, luring them off their path. Born in the marshes where the dead are buried, will-o’-the-wisps flare up, evoking an exigency in whoever beholds them. Thus, the will-o’-the-wisp or the duende exemplifies the potency of images, their flaring and fading away, and their ability to move us. [ABSTRACT FROM AUTHOR]

The professionalization of public theatre in late sixteenth-century Spain transformed the public street drama of playwrights and actors such as Lope de Rueda into an activity whose survival and success depended on ticket sales and attendance. It is within this context that the aside became one of the most popular dramatic techniques of Spain's Golden Age theater. This article seeks to answer two questions about the aside: (1) Do Golden Age playwrights utilize the aside in the same manner? and (2) Does the subgenre of acomediadictate the use of a particular category of aside? I propose to answer these questions, focusing in particular on the different ways that the followingcomediasutilize the aside to transform the audience from mere spectators to active accomplices of what they witness on stage: Calderón de la Barca'sEl alcalde de Zalamea(comedia de honor), Antonio Mira de Amescua'sEl esclavo del demonio(comedia hagiográfica), and Tirso de Molina'sEl burlador de Sevilla(comedia moral). [ABSTRACT FROM AUTHOR]

The sense in which Spanish authors in the Baroque period employ the word ‘labyrinth’ presupposes an evolution, from ancient understanding of it, which the present article aims to outline. For Classical authors the word had the physical sense of a ‘complex construction’, although it could also be used metaphorically. But already in certain texts (Virgil, Ovid), the narration of the Cretan myth invited a moralizing interpretation which is given further prominence in late medieval and Renaissance texts. A further elaboration sees the labyrinth converted into a theological symbol representing deceit, offering an erroneous path which the Christian must avoid. Once these and other parallel lines of development have been traced, it becomes possible to see how complex is the use Calderón makes of the concept in El laberinto del mundo. [ABSTRACT FROM PUBLISHER]

The article reviews the situation of the critical edition of the “entremeses” and other comic short plays of Calderon, highlighting numerous textual and interpretative problems in the current editions, and proposing solutions for establishing the correct text of many passages. It also provides a number of explanations that clarify other references. [ABSTRACT FROM AUTHOR]

The aim of this article carries a comparison between Calderón and Dostoevsky, their semblances and differences. First, I study a relationship toward otherness which is, in both cases, problematic and modern. Departing from Segismundo's complaints when he is imprisoned (saying that he is living a life “worse than animals live”) I analyze two kinds of misunderstandings: a white blindness that respects the Other's difference, and the evil inside its unconcealment. Finally, I discuss Coetzee's Dostoevsky (in The Master of Petersburg) in relation to some of the thesis outlined previously: the necessity of respect when dealing with the space of the other, either in its human form or in a non-human presentation. [ABSTRACT FROM AUTHOR]

The Mexican drug war, in full swing since December 2006, has now claimed more than 40,000 lives. Dozens of high-level cartel operatives have been captured or killed, yet the leadership of one cartel, from Sinaloa in northwestern Mexico, has remained apparently untouched. The apparent lack of a crackdown on the Sinaloa Cartel has spurred criticisms of the Calderón administration, as well as US authorities aiding in the drug fight – some critics contend that the Sinaloa Cartel has enjoyed protection from the authorities. The Sinaloa Cartel's history of protection and collusion by authorities goes back a long way – during the reign of the PRI from 1929 to 2000, Sinaloa's drug traffickers were allowed to operate with near-total impunity. But mounting evidence – captures and deaths of high-level operatives from Sinaloa as well as arrests of relatives of the leadership – suggests that the claims of collusion against the current Mexican administration are false. [ABSTRACT FROM PUBLISHER]

Shakespeare's Titus Andronicus appeared against a backdrop of suspicion concerning the Oriental Other, and evokes the legend of Semiramis, a legend central to a pivotal play in the Spanish Golden Age, Calderon's La hija del aire. Like La hija del aire, Titus Andronicus is notable for its excessive use of artifice and mechanistic staging throughout the history of its performance. Comparing the choices Shakespeare made in depicting the Oriental Other with the more fully articulated ones made by Calderon indicates that excessive use of artifice may well have been the key to putting Otherness on the stage. Playwrights could study the effects of Oriental Otherness on both royal and public spectators and thereby explore the simultaneous fears and desires evoked by such figures. Analysing the context and representations of the Oriental Other provided by Shakespeare in Titus Andronicus through the lens of Calderon's staging decisions in the two parts of La hija del aire offers a way of testing this thesis. [ABSTRACT FROM AUTHOR]