By Shakespeare, William; Gregor, Graham Keith; Shakespeare, William
ISBN-10: 0826499341
ISBN-13: 9780826499349
ISBN-10: 144114398X
ISBN-13: 9781441143983
Shakespeare within the Spanish Theatre bargains an account of Shakespeare's presence at the Spanish level, from a construction of the 1st Spanish rendering of Jean-François Ducis's Hamlet in 1772 to the artistic and debatable paintings of administrators like Calixto Bieito and Alex Rigola within the early twenty first century. regardless of a mostly oblique front into the tradition, Shakespeare has long past directly to develop into the easiest and recognized and most generally played of all overseas playwrights. what's extra, by means of the tip of the 20 th and starting of the twenty first century there were extra productions of Shakespeare than of all of Spain's significant Golden Age dramatists prepare. This e-book explores and explains this unbelievable upward push to prominence and provides a well timed evaluation of Shakespeare's position in Spain's advanced and colourful culture.
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Additional resources for Shakespeare in the Spanish theatre : 1772 to the present
Sample text
13 There was, as Jesús Rubio has noted (1988: 274), something very eighteenthcentury about Romea’s notion of the ‘truth’ of his profession and of the naturalness it entails. But no less classical is the actor’s notion of the theatre’s capacity to teach its audience, to provide the ‘school of manners’ other kinds of moral discourse had proved incapable of yielding. If the theatre had any worthwhile function, Romea argued (1859: 25): [It was] to portray the passions, the virtues, the vices, the habits and, in short, whatever it is that forms those manners, teaching us what is good about them so that we might pursue it, and what is bad so that we might shun it, whether it be through the large proportions of tragedy and drama or through the laughter and piercing ridicule of comedy.
In cities such as Barcelona and Valladolid, which were among the first to be occupied by the French forces, the early post-war repertoires were dominated by French comedies, many of which were performed in the original as they were intended mainly as entertainments for French troops and functionaries now residing in these cities. This was the case of Shakespeare amoureux [Shakespeare in Love], a rather demure dramatization of an incident in the life 28 Shakespeare in the Spanish Theatre of the English playwright.
Although the theatres were now firmly under the control of the municipal authorities, individual actors such as Máiquez were, censorship permitting, able to choose and direct the plays that made up the repertoires. The choice of Otelo was undoubtedly a boost to the ailing and decidedly non-illusionist Caños de Peral, one of the first coliseum-style theatres to be built in the ashes of the old corrales de comedias and which, from 1787, had been used almost exclusively for Italian opera. Another frequently forgotten fact is that the actress playing opposite Máiquez was none other than Antonia de Prado, Máiquez’s own estranged wife, something that must have lent an extra piquancy to the performance.