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:
- 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).
- 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.
Abalo University of Vigo.
