Discurso Te Rico Y Puesta En Escena En Los A Os Sesenta

This book examines troupes, plays, festivals, performative practices, and audiences active during the final years of the Franco dictatorship and the beginning of the transition to democracy. This period, spanning 1968 to 1982, is considered the historical moment that most directly shaped contemporary Spanish politics and society. The dominant narrative of the Transition has long portrayed it as a normalized, non-confrontational, and consensual process steered by political elites. But the world of Spanish theater tells a very different story - one in which ordinary Spaniards played a vital role in the transition to democracy. The chapters of this book draw on censorship files, photographs, audiovisual and textual material, and the author’s own interviews with more than a dozen audience and troupe members. Using these sources, David Rodriguez-Solas examines the notable experimentation during this period with theatrical performance and music; the establishment of performing spaces and festivals; the development of touring networks as a way to evade censorship; and the creation of networks of support that opposed diverse forms of violence and repression. This study will be of great interest to students and scholars interested in theater and the cultural and political history of Spain in the 1960s and 1970s.

'Other' Spanish Theatres challenges established opinions on modern Iberian theatre through a consideration of the roles of contrasting figures and companies who have impacted upon both the practice and the perception of Spanish and European stages. In this broad and detailed study, Delgado selects six subjects which map out alternative readings of a nation's theatrical innovation through the last century. These six subjects include Margarita Xirgu, Enrique Rambal, María Casarest and Nuria Espert.

Este libro es el primero en examinar lo radicalmente nuevo y desafiante Teatro Pánico, un grupo de obras compuestas por Arrabal entre 1957 y 1966, en el apogeo del movimiento avant-garde. ENGLISH VERSION This book is the first to examine closely the radically new and challenging Panic Theatre, a group of plays composed by Arrabal between 1957 and 1966, at the zenith of the avant-garde movement. El presente libro estudia el Teatro Pánico de Fernando Arrabal, un conjunto de textos concebidos durante los primeros años del autor en París, entre 1957 y 1966. Escritas en el momento de mayor auge de la vanguardia, las obras vehiculan una teatralidad radicalmente innovadora cuya piedra angular la constituye el lenguaje ceremonial. La ceremonia pánica que subyace a toda esa dramaturgia es objeto de un profundo análisis a la luz de Le Panique, texto programático del propio Arrabal en que el autor identifica los tres conceptos que desencadenan la creación artística: memoria, azar y confusión. El estudio se detiene en los procesos por los que la memoria determina que las obras abandonen la mímesis, y el azar articula los materiales recuperados de la memoria en tramas y estructuras hilvanadas con gran precisión. Asimismo se incide en cómo los sujetos, objetos, marcos espacio-temporales y palabras se ven sometidos a un proceso de confusión que genera una forma teatral absolutamente innovadora. El concepto de lo pánico, situado en el epicentro de esta experimentación formal, dota de coherencia y unicidad teórica a este aparentementeheterogéneo grupo de obras. Diego Santos Sánchez es Alexander von Humboldt Fellow en la Humboldt-Universität en Berlin. ENGLISH VERSION The Panic Theatre is a set of plays conceived by Fernando Arrabal between1957 and 1966, the author's first years in Paris. Composed at the zenith of the avant-garde movement, they convey a radically new and challenging theatricality whose cornerstone is their ceremonial shape. The plays' underlying panic ceremony is thoroughly studied in light of Arrabal's programmatic text Le Panique, that singles out three key concepts responsible for artistic creation: memory, chance and confusion. This study shows how memory determines the plays' departure from mimesis and how chance articulates the materials recalled from memory into precisely arranged plots. Furthermore, subjects, objects, spatial-temporal frames and words are subject to confusion, inan attempt to create an utterly innovative form of theatre. This group of seemingly heterogeneous plays is given theoretical coherence and consistency by placing the idea of panic at the centre of a great formal experimentation. Diego Santos Sánchez is an Alexander von Humboldt Fellow at Humboldt-Universität in Berlin.

The historical avant-gardes defined themselves largely in terms of their relationship to various versions of realism. At first glance modernism primarily seems to take a counter-position against realism, yet a closer investigation reveals that these relations are more complex. This book is dedicated to the links between realism, modernism and the avant-garde in their international context from the late 19th century up to the present day.