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  2. Javier Clavero Salvador (Author of La Herencia de Manolito)?
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  4. Dougherty, Dm, and Ana Maria Vilches. La escena madrilMa entre y Analisis y documentacidn. Madnd: Fundamentos, Elam, Keir. The Seyniotics of Theatre and Drama. New York: Methuen, Fernandez Cifuentes, Luis. Garcia Lorca en el teatro: la norma y la diferencia. Zaxagoza: Prensas Universitarias de Zaxagoza, Garcia Lorca, Federico. Obras completas, Madrid: Agui- lax, Garcia Anton, Cecilia. Entre la tradicidn y la vanguardia.

    Madrid: Taba- press, Isaacharoff, Michael. Philadelphia: U of Pennsylvania P, Pavis, Patrice. Languages of the Stage: Essays in the Semiology of the Theatre. PQez de Ayala, Ramon. Las mascaras. In Obras completas, Madrid: Aguilar, Ruiz Ramon, Francisco. Historia del teatro espafiol.

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    Siglo xx. Madrid: Catedra, Ubersfeld, Anne. Semidtica teatral. Search this site:. Directories Courses Discussion Groups. JOIN Login. Benavente and the Spanish Discourse on Theater by C. Christopher Soufas, Jr. Reader Bibliographic Information. Benavente and the Spanish Discourse on Theater. Hispanic Review.

    Start Page:. End Page:. Select license:. Select License. Updated: January 16th, SOUFAS, Tulane University, Louisiana he early twentieth-century critiques of Spanish stage practices come from within and often take the form of addenda to the dramatic text- explanatory prologs, more extensive didascalia suggestive of the dramatist's desire to influence the stage production-but also self-referential, metatheatrical moments often critical of theater practice.

    Examples of self-reference to the theater tradition via characters of the commedia dell'arte are also prominently featured in La marquesa Rosalinda and Asi que pasen cinco afios. Although the first significant contemporary exer- cise in this vein occurs in Jacinto Benavente's Los intereses creados, C. Lorca's solution to this "gran desequilibrio entre arte y negocio" is the creative presence of "directores de escena autorizados y documentados que C.

    HR 68 transformen las obras y las interpreten con un estilo" Most typical of the criticism that has plagued Benavente is the The Spanislz Discourse on Theater assertion of a poorly developed sense of theatricality. The array of characters in Los ilztereses creados alludes to the principal European theater traditions: the Italian commedia dell'arte, the French guignol or puppet theater with its great appropriation from the commedia, Arlequin , and the Spanish comedia since C.

    Crispin is successful in large measure because of The Spanish Discourse on Theater his self-consciousness of theatrical tradition and of the theatrical context of these characters. Risela makes this clear when she tells Dofia Sirena that "otras dos fiestas dejamos por no faltar a vuestra casa" 41 , which is exactly C. Soufas, Jr.. HR GS the situation that obtains every night wherever theater is repre- sented.

    What is interesting about this sudden reversal, for which there is no earlier hint in the text, is the manner in which it occurs: Dominica simply announces, or pronounces, The Spccnish Discourse on Theater herself pregnant. Whether real or invented, the baby reaffirms the C. Raimunda's T"ne Spanish Discourse on Theater discovery of the truth which leads directly to her death is an ironic confirmation that from the outset she was laboring under an unten- able set of premises. As Lorca some twenty years later described to Lola Membrives, the new generation's ver- sion of Maria Guerrero, and her company: En este teatro lleno de actores y de autores y de criticos, yo digo que lo que pasa es que existe una grave crisis de autoridad..

    El teatro ha perdido su autoridad porque dia tras dia se ha producido un gran Jr. The Spanish Discourse on Theater -. Upload article. Tags No tags found. Geographic Focus. He wanted to do the vocalist, the small band, and the orchestra. Guess what? That's exactly what we did Getting permissions from the various labels was a task of its own, yet we did as best as we could. Speaking of acclaimed figures, Tito was no stranger to having celebrities around him all the time.

    International famous celebrities were regular attendees at his concerts like in the Village Gate and all the Jazz clubs. They loved to join in with Tito on stage playing clave beats, and cowbell stints. Of course, fans loved every bit of it. Tito was mentor, a scholar and an innovator; though I wish I would have had more time with Tito.

    My last conversation was when Tito was leaving for Puerto Rico in the middle of the recording "MasterPiece" Obra Maestra , his first in conjunction with Eddie Palmieri.

    Tito wanted me to 'hold the fort' while he returned, he said.