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The dramaturgy of La Celestina

José María Ruano de la Haza and Jesus G. Maestro (eds.), Theatralia. Poetry Magazine Theatre: The dramaturgy of 'La Celestina' . Vigo, Editorial Academy of Hispanics, 2008. 232 p.
ISNN 1576-1754. ISBN 978-84-96915-27-5.

The tenth edition of Theatralia. Poetry Magazine Theatre is dedicated to one of the masterpieces of English Literature: La Celestina Fernando de Rojas. It fulfills the journal Theatralia with the tradition that characterized since its first publication, which dates back to 1996, presenting a monographic delivery, The dramaturgy of 'La Celestina' , this time in the edition of José María Ruano la Haza and Jesus G. Teacher. From the title of this tenth edition provides a direct connection with the stage design for the representation of a dramatic text, a reference which can be put into question if one considers that not all literary works are written to be represented, where appropriate, precisely the work we are concerned in this volume. It is clear therefore that to talk about drama in La Celestina will require the action of an individual broker or transducer, capable of carrying out an adaptation of the work of Rojas in which objectifies its staging.

In line, therefore the figure of the transducer, Jesus G. Master opens this tenth installment of Theatralia with a preliminary study on the phenomenon of transduction in the genre of theater. This introduction answers, in turn, to a long career in the analysis of the Theory of Theater, centered primarily in the transduction and drama inherent in the process. It is obvious to any reader today to see how access to knowledge is completely mediated or transduced, not by the three elements in his scheme Jakobson proposes basic semiotic-author, reader, message-but by a person trained to transfigure the meaning of their statements. However, it should be mentioned that the transducer does not move to the author, but acts on the text that has previously been formalized. Consequently, the phenomenon of transduction is configured as a fact of the theatrical genre as literature and as entertainment. Master discrimination proposed in this clear and concise study provides a starting point of this tenth volume, so that the transducer is based on two configurable modes:

1. The transducer of a literary text, which is the author of a critical interpretation of that text (intertextuality). At this point, we move in the field of comparative literature, where the relationship attribute is inferred as indispensable. A model isologo conferring or metro or, which is the same, the relationship between two texts: a literary work other literary influences (Maestro, Idea, concept and method of Comparative Literature , Vigo, Editorial Academy Hispanismo, 2008).
2. The transducer of a theatrical text (literary text) is the author of a stage version (text spectacular).

So following this differentiation is witnessed how in this volume are two articles that respond exactly to the work of two transducers of a theatrical text - La Celestina - which are themselves Authors of a stage version: "An adaptation of the Tragicomedy of Calisto and Melibea called Celestina" Ruano de la Haza (154-164) and "La Celestina : Group RQR Complutense University. Direction and dramaturgy of David Barrocal "of Joshep T. Snow (105-132). Both adaptations Rojas tragicomedy motivated response to the need for the extension of the work, as well as their mode of expression. These versions contain a critical interpretation of La Celestina , that such adaptations are more formalized aesthetic codes that only critical codes.

The objective Ruano de la Haza was brand is "dramatize a Celestina of the many that contains the text" (152). As good transducer, Ruano presents a literary and theatrical version (performed by the company Zampanó) which is the result of a careful study of the work of Rojas, an analysis that took into account both the literary tradition and social context Salamanca at the time, and certainly the formal complexities presented genológicas tragicomedy. This resulted in a " Melibea Celestina", attached to the scheme of classical drama, and not a "Celestina Callisto Parmeno or Sempronius. This option Ruano de la Haza, as a transducer, is clearly a new condition in the receiving process. Snow Joshep

us your comments about the drama of David Barrocal (105), and certifies that the leitmotif adaptation responds to the topic of carpe diem :

In this drama we must seek no apology didactic-moral, the reading of Celestina moralizing absent (114).

It is, therefore, a formalization of the work of Rojas regards mainly to aesthetic parameters in the search for the show, hence the black magic, devil, spells blood and figures are identified as paramount. These elements are also present in the tragicomedy of Red, but this stage version transcend the literary text, and are organized in response to a novel narrative logic, of course, very current.

If the end of the tenth Theatralia delivery focuses on the importance of the stage adaptation, the rest of the book treats us to a series of academic articles and scientific analysis from various perspectives, the tragicomedy of Rojas. The provision of academic reflections perhaps respond to a standard that is the genre of the theater. However, when outlining the volume we have chosen a layout that groups them according to two sources of study: the literary text and the text dramatically. Thus, Alfredo Hermenegildo in "Glimpses of representation" (133), based on the version of Ruano de la Haza, and considering the dramatic indications or quotations - explicit or implicit- present in the original, dramatic text analysis from a comparative perspective. This analysis relates primarily to the matching of the constituent elements of the staging: the stage directions. According to Genette's structuralist terminology ( Palimpsests , 1982)-where the text is set as Rojas and adapting hypotext Ruano de la Haza as hypertext, "Hermenegildo reveals a thorough study of the dramatic elements of text, and concludes with the idea that the version of Ruano de la Haza highlights the key elements of the original work.

From the point of view of the staging, Enrique Fernandez in his study "La Celestina in comedy magic. powders Mother Celestina (1841) of Hartzenbush "(89), recalls what led to the revival of the tragi-comedy of Rojas in the middle of Romanticism. Indeed, the great critical and commercial success that had the comedy magic, powders Celestina's mother in 1841, is the introduction of the figure of the pimp in a paper marked by the comic. The character created by Rojas only preserves its longevity and witchcraft, sorcery indispensable Hartzenbush which is served to recreate, so hyperbolic, the tone of mockery that characterized the comedies of French-style magic. While this reflection delves into the romantic period, Miguel Ángel Pérez Priego returns to context in which work is forged Rojas, and reaching out to potential sources of oral character that might influence the development of tragicomedy "La Celestina and some drama in the Salamanca de Rojas "(77). Pérez Priego presents a paradigm of interpretation based on relationships from terms, therefore situated in the field of comparative literature, finds the impact of different representations festive time in the work of Rojas. There are three possible representations that the author believes, based on its analysis, Rojas could be present for the creation of his work: Representation the power of love and Repelon Auto , both of Juan del Encina, and Dialogue between the Old and Love and the beautiful woman .

While most of the articles converge in their conclusion on the possibility of staging of La Celestina is one that flies in the scenic values \u200b\u200band sets his sights on one of the most relevant textual passages tragicomedy: "Prayer to St. Poland La Celestina in the light of medical folklore religious" (59). Santiago López Ríos go to sources seeking primary significance of the prayer to St. Poland, the matchmaker asks Melibea: Reprovación of superstition and witchcraft. NEED TO book very useful and all good Christians , Peter Plum (1538) and Treaty of superstition and witchcraft and the ability and choice of Martin Castañega Dellas (1529), among others. It is noteworthy at this point, the work of the author, transcends the literary text, but without forgetting its importance, and approaches to other categorical or scientific field in search of rational, hard to find, if one considers the rudimentary state of medicine of the time.

When you start reading this tenth volume of Theatralia first verifying that the articles focus on the literary text, but without forgetting the possibilities of representation of the dramatic text, something that is inferred conclusion. So if Evangelina Rodríguez Cuadros on "rhetoric and drama of gesture and expression in La Celestina" (43) focuses on ornatus as a key element of which is off the possibility of staging the work of Rojas, José Luis Canet, on "Gender and drama in La Celestina" (27), opts for an analysis of formal elements, from which follows not only the complex assignment genológica of tragicomedy, but also the difficulty of adapting them for staging. Both reflections are based on guidelines set by one of the most renowned scholars of the work of Rojas, María Rosa Lida de Malkiel.

The tenth installment of Theatralia was established as an indispensable volume for any student of Celestina and theatrical genre, not only by the inclusion of the literary version of La Celestina Ruano de la Haza, but also for the selection of well-founded ideas that go far beyond the level of studies focused psychological or ideological considerations.

Marta Sánchez
Abalo University of Vigo.

[ Other reviews of the volume published on the web .]

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ARIDONDIA PALACE MOVIE PROMO OF THE MINISTRY OF EARTH SCIENCES

One most dangerous species Aridöndia region are peculiarly the Monon of Verdi although they are not even remotely in that other region if you know who emigrated en masse in the past Aridöndia in search of a warmer climate. Tradition says that what he really sought these monono Aridöndia was hell and is the closest thing they found. Ministry of Culture
Mincha made this film warning about the character of this species that may look a very conspicuous by its bright yellow until you decide to take a closer look.

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MINCHO III PROMOTIONAL FILM OF THE MINISTRY OF SCIENCE APPROVED MINCHO II

In the year 7000 and taking advantage of the seventh millennium, the authorities the world opened the facilities of the Center for Experimental Studies at an elevation of land Aridöndia Center, within walking distance of the city difficult. The situation here was precisely designed to be arduous in a city of trade and port maximum movement of aircraft, although the Research Centre itself has a small port equipped maintenance workshops. Since then, generations and hundreds of technicians and scientists are constantly working on the building, although one could say that but themselves, no one on Planet Mincha have no idea what kind of work and experiments are conducted within these facilities.
With their recent restoration and expansion, the Ministry has created this center's promotional film music of the great interpreter of multiguitarra Rexrex Lumak, in this case making a version of "Rhythm of hard" in that other great performer called Yonione.

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ROBOTS CRM FOR PROMOTIONAL FILM

The Technical Development Committee of the Ministry of Science Mincha not allow the circulation of robots has not been approved, nor those franchises that are produced by the Ministry due to the epidemic that ravaged the minimum region in the year 14,063 endangering all technological development den area and which had to be isolated from other regions to avoid a plague of technological infections around the globe.

The picture shows some of the models approved by the Development Committee created by the CRM (Mincha Robotics Company.)

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CRUDÖLTA

In the vast region of Aridöndia can find small towns like Crudölta that are usually located around a subterranean stream. Villages are quiet, maybe too quiet. It draws on all the levitating and some other individuals who opt for life away from the big cities of the desert. Crudölta
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MINISTRY OF SCIENCE TO FIND WATER MINCHO

's next film is one of the promotional pieces from the Ministry of Science. It was filmed in the region of Verdi concretamete in Rocazzul, where they found some of the most important paintings in the world. Music is a traditional piece belongs to the culture arcuña and performed with the typical wooden flute maztano and metal alloys.

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ARIDÖNDIA

In the desert region develops Aridöndia ardos culture, one of the sentient species across this region of the planet in certain months of the year to make the route köfur commercial.
the traditions of this race survive the power of the medium, wise counselors and spiritual leaders of tribes ardas. These medium ardos have succeeded in developing a capacity to generate water in areas where there is none. This may take a few days of full time and concentration. During that span of time, remain stationary and in a state of trance on a piece of land with its long vertical scepter oriented toward the sky. The scepter made of a wooden rod brucco, conductor makes energy between air and subsurface minerals that come into direct conxeión generate the creation of natural water.

With this uncanny ability to be transmitted secretly from generation to generation, have managed ardos survive for millennia in the arid region of the planet.

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hongojos

Family resting on the plains of Verdi.

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HONGOJOS IN THE CAVE PAINTINGS OF VERDI

The origin of the paintings of Verdi is ancient and today still contain many secrets about the pre-civilizations Mincha Planet. In this painting, found among the more than hundred different found in the cave of Rocazull, place of worship for millennia, we can see that it was a kind hongojos then and probably evolved tribes considered this land as animal mollusk which is sacred and may not include in their diet until millennia later in the hongojo started eating cooked in vinegar as an accompaniment maddil religious ritual of sects indigenous to the area. Today this custom is preserved ritual in some parts of this region, but beyond that, the hongojo has gone on to become one of the typical foods of the world and can desgustar at any time of year.

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Golden Theatre in the light of the political dialectic

Philip B. Pedraza Jiménez, Sex, power and justice in the English comedy (four bays) , Vigo, Editorial Academy of Hispanics, 2007, 149 p. ISBN
978-84-935541-9-4.

The book I am about to outline has two virtues that make him a rarity among the many literary criticism that thrive in our time: 1) These ideas -Political, social, religious, ethical, moral, which are present in the various materials he plays, 2) is close to the English comedy from a political perspective, but not limited ideologically.

In the work of Pedraza, literature is considered a vehicle of transmission of ideas, as well as the author says. While it is true that the playwrights are not philosophers, they are embedded in a socio-political structure that determines, in part, the content of his works: "No need to remember that playwrights do not engage in political philosophy and most are not interested or too little nor too much to this science, but live, as its public, in society and can not help but be affected by states of opinion, values \u200b\u200band prejudices of the time they write. Sometimes they even try to mold their works with political and social ideas of the audience "(Pedraza, 2007: 137).

tests treated comedies - The Marquis of Mantua, parenting There are king , justice in piety , The Catalonia Cain, Absalom's hair and a series of comedies commanders-reach brilliance and sharpness that leaves the reader wishing that the book does not reach its end. It is very difficult today find jobs that are not limited to count over and over again in a thousand different ways, the argument works, stylistic resources or formal arrangement. It is true that these jobs are necessary, but it is also true that English literature contains ideas and their manifestations are addressed first order problems, social and political: "Lope is facing, through the reasoning of the brothers, the arbitrary tyrannical and the monarchy gladly submitted to the legal system "(Pedraza, 2007: 29). From all this paints a wonderful picture of the teacher's pamphlet Pedraza. Especially interesting

it shows the continuing partnership established the author between tragedy and political conflict, regardless of the resolution given to the conflict, as well as shows the last chapter, which presents an evolution of the possibilities offered resolute that the different authors in different times studied. Their analysis is meticulous in the highest degree, for example, when they ruled the political dialectic works as The commanders of Cordoba: "But internally, the offenders of Cordoba twenty-four whether or not dramatic commanders have limited visibility . is more strongly emphasize other features, for example, Jorge and Fernando are "Nephews of bishop. "features the work not the abuse of a social group over another, but the clash between members of the same estate, to make matters worse related to each other: Dona Beatriz, the adulterous wife, a cousin of the commanders" (Pedraza, 2007 : 70).

The author covers various English comedy whose central axis revolves around the relationship between power, gender and justice. In this regard, studies the evolution of the field of conflict resolution and taking into account dramatic socio-political changes that operate in different realms, beginning with Philip II, and taking into account key authors in the development of political ideas, like St. Thomas, Machiavelli, Mariana ... If the first comedies were trying to highlight the need to strive for justice, punishment and reparation, only possible in part on the harm suffered by victims, all respond to the social interest to show that the outrages committed by the nobility would have a strong legal response by the monarchy. However, one consequence of this reassertion of royal power was the consolidation of absolute monarchy: "Of course, not revolutionary, something unthinkable in the hegemonic power and popular theater, but maintainers of a system-believed-could risk if not curbed certain abuses "(Pedraza, 2007: 75). This explains, in the successful author's thesis that playwrights such as Guillén de Castro and Francisco de Rojas Zorrilla had not as easy to place the scene in the execution of a prince, for many crimes committed and that these were very horrible case of fratricide: "As I tried to explain, playwrights echo of a political paradox: enhancing absolutism (which involves the abolition of exceptional arrangements and special courts) drives at the same time, except on real people , to be guarantors of the general law, even when the infringing individual "(Pedraza, 2007: 149).

The events in France with the attack against Henry IV, most controversial ever made the decisive Renaissance doctrines advocated the right of people to tyrannicide. The English comedy appears as one more piece to be considered in the study of these important aspects of political philosophy, especially those comedies, such as Lope, started from the premise to conquer and to please the audience, thus his playing can give us important data about the prevailing mentality in the public at the time.
Especially interesting is the analysis that the author of Absalom's hair, whose interpretation, drifts against Freudian and psychological, opt for a treatment of sexual violence as a constituent part of a political dialectic. Uncontrollable impulses of the protagonists of the analyzed works acquired in the interpretation of socio-Pedraza address fundamental policy that transcends the traumatic experience, not cancel it as psychological experience has limits: "The core Tamar's Revenge tirsiana Sexual violence is Amun, who is a victim of his sister Tamar. This experience conflict could lead to a psychological drama, Freudian, as seen from the unique perspective of the character disturbed and unable to overcome their problems experience. In The hair ... just do not find that inner reality, but also its projection on a social and political environment in which personal desires are lawless and which dominate decisions affects the maximum representative of authority: the king David "(Pedraza, 2007: 87). The readings performed in the plays of Lope, Castro, Rojas and Calderon always show consideration of the crime of abuse he has estates, political reaffirmation strategy (in the case of violation of the concubines of King David that Absalom done to deter the people of any fears you might have entertained about a reconciliation of the prince his father), or conflict that requires a judicial action which undermines the family of one who has to ensure justice. The dialectic between the familiar moral and legal ethics is brilliantly expressed in the literary analysis of Pedraza, who demonstrates a mastery of the concepts of ethics, morality and law. Beyond the poetic justice in these dramas was in play a series of reflections on the limits of political power, the border between the tyranny of the monarchy, the need to compensate the victims of the law as maximum articulation of civil order, the desirability or otherwise of the imposition of punishment for certain members society linked to the monarchy ... It is, in short, discussions have not disappeared from our modern societies, which thus acquire the works analyzed its presence. Pedraza not perform an archaeological survey of the English golden comedy but recover key ideas in these works of political philosophy of all time:

"Clearly, the legitimate desire of the victims, and should be for all of society is that crime does not meet the objectives for which it was born: out of respect for those who suffered and essential social prophylaxis. [...] Contrary to his most intimate and vital interests, Emperor remains the fundamental assumption that restorative justice is a cornerstone of social structure "(Pedraza, 2007: 50, 51).

In short, a great example of what is the treatment of literature if we go beyond hackneyed interpretations that strive to reduce it to a mere formality, beautiful, yet lacking in ideas. A work which offers a delightful read that will not disappoint anyone and has a wealth not only for philologists, but for all those interested the literary development of the most fundamental and crucial ideas in the history of thought and political history of Spain and Europe. An essential work claiming the political dialectic that plays staged, and since its birth in Athens Pisistratus. In short, essential reading.

Violeta Varela Álvarez.

University of Salamanca.

[ Other reviews of the volume published on the web .]

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"The Divine Filotea" in the series of critical editions of mystery plays Calderonian

Pedro Calderon de la Barca, Filotea Divine, ed. Luis Galván, Kassel, Reichenberger, [Teatro del Siglo de Oro, Critical Editions, 149], 2006, 255 p.
ISBN: 3-937734-24-4.
Within

impeccable critical edition of the complete mystery plays by Calderón de la Barca, Divine Filotea is number 53 of the series and, as in previous cars, the editor places the text in its time (authoring, date, title and representations), places it in the literary tradition, examines the doctrinal content of the car, set the textual scene, make the outline metrics and reports memory of appearances.

This car is represented for the Corpus of 1681, along with Lamb of Isaiah . In one of the best manuscripts (FG) reads that it is "The Penultimate that MDCLXXXI wrote the year ", which apparently seems to indicate that Calderon, who died that year, he did after writing the entire text. Belatedly it was known under the title love and be loved, but the handling of documents shows that Filotea Divine title is the only sure source of Calderon.

Despite the adjective "divine" in the title, which seems to suggest a relationship with Jason The divine and the divine Orpheus , the work does not perform religious allegorical interpretation of a secular argument, but a action in the tradition of the besieged city, the psychomachy, chivalric adventures and the myth of Psyche and Cupid. The reason for the besieged city was used by the playwright in The Almudena hub, providing Filotea Divine a basic structure from which new passages added. As psychomachy, this car has a struggle to win Filotea the "soul in grace" (vv. 67, 79), and connects with Psycomachia Prudencio (fourth century).

work also is linked to the chivalric genre: the contest between two candidates vying to Filotea, add distance love, through a picture, or the unknown to be maintained until the victory of the hero, the Prince of Light. The band that covers the face it will sell the usual kinship with the iconography of Cupid. In this way the self refers to the myth of Psyche and Cupid. In its sacramental nature, in Divine Filotea theological issues are addressed. In fact, all characters are reduced to four: Filotea (with his senses, his understanding and theological virtues), the Devil, the Prince of Light and the World (here is to include atheism, paganism and Judaism, as the Apostasy, avatar of Ingenio, is part of the soul) In considering the doctrinal content of the car, Galván stops at the senses and faculties, enemies of the soul, the theological virtues and the mysteries of faith. Concludes that in this car, whose action resembles that of a chivalrous comedy, it represents "the moral life as the struggle of virtue against the enemies of the soul, and a summary of the major mysteries of the Catholic faith" (p. 24) .

The editor brings together twenty-preserved evidence and establishes two main groups within each group affiliations. Finally, after accounting for the common mistakes are and posits an edition based on the testimony FG (Lazarus Foundation Library Galdiano, symbol M1-1-19) and P (Autos sacramental ..., Part I, Madrid, Manuel Ruiz de Murga. 1717). Finally, memory plays appearances, preserved in a manuscript, although not autograph, signed by Calderón. Close the text the list of variants and index notes. Catalina

Buezo
Universidad Complutense de Madrid