DOCSLIB.ORG

Miguel De Cervantes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Miguel De Cervantes MIGUEL DE CERVANTES Miguel de Cervantes was born in Alcalá de Henares (Madrid) in 1547. He was baptised at the now lost Church of Santa María la FREE ADMISSION Mayor on 9 October that same year, as ACCESSIBLE MUSEUM confirmed by his baptism certificate. T. 918 89 96 54 www.museocasanataldecervantes.org Little is known about Cervantes’s childhood and adolescence. The son of Rodrigo de Cervantes, an apothecary surgeon, and Le- OPENING HOURS onor de Cortinas, he travelled throughout Tuesday to Sunday: From 10 am to 6 pm (last tour starts at 5.30 pm). his life around Spain and sought his fortune Closed on Mondays, 1 and 6 January, 1 May, 24, 25 and 31 December. in Rome, where he worked as a manservant 2 Opening hours may change due to special activities taking place. to Cardinal Acquaviva. In 1571, together with his brother Rodrigo, he took part in the Bat- At the age of 37 he met the great love tle of Lepanto and was seriously wounded of his life, Ana Franca de Rojas, with whom INFORMATIONS AND BOOKINGS in the chest and arm. his only daughter, Isabel de Saavedra, was [email protected] conceived. However, despite the love they professed for each other, Cervantes ended GROUP VISITS up marrying Catalina de Palacios Salazar, Group visits must be booked in advance by email: [email protected]. who was from Esquivias. Success came towards the end of Each group may have a maximum of 20 people and must be Cervantes’s life, in 1605, with the publica- accompanied by a group leader. tion in Madrid of the first part of his im- mortal work The ingenious gentleman don HOW TO GET THE MUSEUM Quixote of la Mancha. At the time he was Train: Renfe. Lines: C-1, C-2 and C7a. Bus: Line L223 Line (departs from the station on Avda. de América). living in Valladolid, but he soon moved to Madrid (1606), to the district now known as PARKING the Barrio de las Letras or Literary Quarter. Pico del Obispo (Calle Cardenal Sandoval y Rojas. Puerta de Madrid entrance). His neighbours were among the great lite- 1 rary figures of the Spanish Golden Age, such Photographs and video are allowed with mobile devices (no flash or tripods) as Lope de Vega, Francisco de Quevedo for personal use only. While returning to Spain by sea (1575), and Luis de Góngora. Some of Cervantes’s he was captured by pirates and taken to finest literary works flowed from his pen a prison in Algiers, where he remained for while he lived in this quarter: Exemplary five long years. Thanks to the ransom paid novels (1613), Journey to Parnassus (1614) Cover photography: ©Amador Toril photography: Cover by the Trinitarians monks, Cervantes was and the second part of don Quixote (1615). able to return to Spain. He had already fallen ill by the time he com- After these adventurous years, he pub- pleted The trials of Persiles and Sigismunda, lished his first great novel, La Galatea his final work, which was published posthu- (1585). In his early years as a literary author, mously in 1617. he showed a keen interest in the dramatic He passed away on 22 April 1616 and was genre and indeed some of his plays were buried the following day at the Convent of performed on the stages of Madrid. the Trinitarias. D.L.: M-20347-2016 B.O.C.M. M-20347-2016 D.L.: www.museocasanataldecervantes.org 28801 ALCALÁ DE HENARES. MADRID HENARES. DE ALCALÁ 28801 C/ MAYOR, 48 MAYOR, C/ ENGLISH THE MUSEUM GROUND FLOOR surgical instruments, spice racks, alembics, FIRST FLOOR the portrait of a mature Miguel de Cervantes medical treatises and a barber’s chair in- are displayed. Miguel de Cervantes’s birthplace has long The first space that visitors enter is the spired by the gout stools used by Spanish The room dedicated to the Master Pedro’s The women and children slept in dif- been debated and questioned. It was not central courtyard, which features the origi- monarchs. In this same room is a mural puppet show” is a scenographic display ferent rooms from the men, in ladies, du- until 1948 that Luis Astrana Marín, author of nal stone well that supplied the house with decorated with fresco paintings. This wall featuring the characters, scenery and a ennas (widows who acted as chaperones) The heroic and exemplary life of Miguel de water for everyday use. The lower gallery is is one of the house’s original elements and dramatised recording of one of the most and children’s chambers. This is an emi- Cervantes Saavedra, proclaimed this very supported by eight columns with Corinthi- confirms the theory of its existence in the renowned passages from don Quixote nently female realm, divided into three building as such. an capitals originating from the Episcopal mid-16th century. (2nd Part. Ch. XXV et seq.), in commemo- separate spaces: the private bathing and Palace in Alcalá de Henares, while the up- ration of the author’s fondness for puppet dressing room, the women and children’s per gallery has wooden posts and a balus- theatres. chamber, and the estrado del cariño, or trade of the same material. private parlour, with the cradle evoking Cervantes’ birth. Two exhibition rooms display part of 8 the museum’s collection of more than 200 editions of Cervantes’s works. The 4 8 selection of works and pages are changed 6 periodically for conservation purposes. 3 5 Some of the most notable works include 6 4 the copy of don Quixote from 1605 (one 7 3 of the few rare copies of this illegal print- A doorway in the dining room leads to ing), the first English translation of the 1 5 First opened to the public in 1956 as a house 4 2 a small kitchen with a fireplace, where the two parts of don Quixote (1620), and the 7 museum, the building has undergone nu- household would gather. This is decorated 1 French edition of La Galatea (1611). The 6 museum also has a Braille edition of don merous renovations and transformations, In the hall or drawing room, visitors can with utensils and arrangements of fruit and 2 always preserving the original parts. In this admire the armchairs or “friar’s chairs” ar- vegetables, spices typically found in Medi- Quixote, available on request to visually house, the everyday life of a wealthy Span- ranged around a brazier. The draped fabrics terranean and Islamic dishes, and large clay 3 impaired visitors. ish family in the 16th and 17th centuries is and embossed leather covering the walls GROUND FLOOR jars used to store water from the well and recreated in detail. helped to keep in the warmth provided by 1 Courtyard oil for cooking and lighting the rooms. The property is situated in the historic the heater. The tour of the ground floor ends with a FIRST FLOOR 2 Hall city of Alcalá de Henares, next to the Hos- The surgery is a room dedicated to Ro- visit to the ladies’ drawing room where the 1 Corridor pital de Antezana, where the writer’s father, drigo de Cervantes and displays all the in- 3 Surgery women would sit on cushions a la morisca, Master Pedro’s puppet show Rodrigo de Cervantes, may have worked. struments associated with his profession: 4 Kitchen or Moorish style, to read, play music, do 2 Gentleman’s bedroom 5 Dining Room needlework, pray or talk. Rugs, mats and 3 braziers are other typical features of this Women & children’s chamber 6 Audiovisual room/Wine Cellar 4 type of room. Bathing & dressing room 7 Ladies’ drawing room 5 6 Private parlour 8 Assembly room 8 7 Publications room 1 PHOTOGRAPHS 8 Temporary exhibitions room Adjacent to this room is the dining 1 El Ingenioso Hidalgo Don Qvixote de la Mancha. room, which is decorated with a panel of Pub. Lisbon, 1605. ornamental tiles like the ones found at the Next to this room is the Gentleman’s 2 Portrait of Miguel de Cervantes. Anonymous, Escorial Monastery and features a selection bedroom, which recreates the chamber 20th Century. Museum facade, Calle Mayor. of the most widely used crockery of the pe- used by the writer’s grandfather, Juan de 3 4 Detail of the well in the courtyard. riod: ceramics from Talavera and Puente del Cervantes, a graduate of law, who was 5 Rodrigo de Cervantes’ surgery. Arzobispo (Toledo), lustreware from Ma- actually the master of this property. An 6 Dining room. nises (Valencia) and pieces from Villafeliche interesting collection of desks, braziers and 7 Vihuela in the ladies’ drawing room. 5 (Zaragoza). 7 trunks, evoking his fondness for travel, and 8 Temporary exhibitions room. MUSEUMS AND HALLS COMUNIDAD DE MADRID MUSEO CASA NATAL CENTRO DE INTERPRETACIÓN SALA ALCALÁ 31 DE CERVANTES DE NUEVO BAZTÁN C/ ALCALÁ, 31 C/MAYOR, 48 PLAZA DE LA IGLESIA, S/N 28014. MADRID 28801. ALCALÁ DE HENARES. MADRID 28514. NUEVO BAZTÁN, MADRID www.madrid.org www.museocasanataldecervantes.org www.madrid.org SALA CANAL DE ISABEL II CASA MUSEO MUSEO ARQUEÓLOGICO C/ SANTA ENGRACIA, 125 LOPE DE VEGA REGIONAL 28003. MADRID www.madrid.org C/ CERVANTES, 11 PLAZA DE LAS BERNARDAS, S/N 28801. ALCALÁ DE HENARES. MADRID 28014. MADRID SALA www.casamuseolopedevega.org www.madrid.org/ ARTE JOVEN museoarqueologicoregional AVDA. DE AMÉRICA 13 MUSEO PICASSO 28002. MADRID COLECCIÓN EUGENIO ARIAS CA2M CENTRO DE ARTE www.madrid.org DOS DE MAYO PLAZA DE PICASSO, 1 SALA EL ÁGUILA 28730. BUITRAGO DEL LOZOYA, MADRID AVDA. DE LA CONSTITUCIÓN, 23 C/RAMÍREZ DE PRADO, 3 www.madrid.org/museopicasso 28931.
Load more

Recommended publications
  • Is There a Hidden Jewish Meaning in Don Quixote?
    From: Cervantes: Bulletin of the Cervantes Society of America , 24.1 (2004): 173-88. Copyright © 2004, The Cervantes Society of America. Is There a Hidden Jewish Meaning in Don Quixote? MICHAEL MCGAHA t will probably never be possible to prove that Cervantes was a cristiano nuevo, but the circumstantial evidence seems compelling. The Instrucción written by Fernán Díaz de Toledo in the mid-fifteenth century lists the Cervantes family as among the many noble clans in Spain that were of converso origin (Roth 95). The involvement of Miguel’s an- cestors in the cloth business, and his own father Rodrigo’s profes- sion of barber-surgeon—both businesses that in Spain were al- most exclusively in the hand of Jews and conversos—are highly suggestive; his grandfather’s itinerant career as licenciado is so as well (Eisenberg and Sliwa). As Américo Castro often pointed out, if Cervantes were not a cristiano nuevo, it is hard to explain the marginalization he suffered throughout his life (34). He was not rewarded for his courageous service to the Spanish crown as a soldier or for his exemplary behavior during his captivity in Al- giers. Two applications for jobs in the New World—in 1582 and in 1590—were denied. Even his patron the Count of Lemos turn- 173 174 MICHAEL MCGAHA Cervantes ed down his request for a secretarial appointment in the Viceroy- alty of Naples.1 For me, however, the most convincing evidence of Cervantes’ converso background is the attitudes he displays in his work. I find it unbelievable that anyone other than a cristiano nuevo could have written the “Entremés del retablo de las maravi- llas,” for example.
    [Show full text]
  • Exhibition Booklet, Printing Cervantes
    This man you see here, with aquiline face, chestnut hair, smooth, unwrinkled brow, joyful eyes and curved though well-proportioned nose; silvery beard which not twenty years ago was golden, large moustache, small mouth, teeth neither small nor large, since he has only six, and those are in poor condition and worse alignment; of middling height, neither tall nor short, fresh-faced, rather fair than dark; somewhat stooping and none too light on his feet; this, I say, is the likeness of the author of La Galatea and Don Quijote de la Mancha, and of him who wrote the Viaje del Parnaso, after the one by Cesare Caporali di Perusa, and other stray works that may have wandered off without their owner’s name. This man you see here, with aquiline face, chestnut hair, smooth, unwrinkled brow, joyful eyes and curved though well-proportioned nose; silvery beard which not twenty years ago was golden, large moustache, small mouth, teeth neither small nor large, since he has only six, and those are in poor condition and worse alignment; of middling height, neither tall nor short, fresh-faced, rather fair than dark; somewhat stooping and none too light on his feet; this, I say, is the likeness of the author of La Galatea and Don Quijote de la Mancha, and of him who wrote the Viaje del Parnaso, after the one by Cesare Caporali di Perusa, and other stray works that may have wandered off without their owner’s name. This man you see here, with aquiline Printingface, chestnut hair, smooth,A LegacyCervantes: unwrinkled of Words brow, and Imagesjoyful eyes and curved though well-proportioned nose; Acknowledgements & Sponsors: With special thanks to the following contributors: Drs.
    [Show full text]
  • The Universal Quixote: Appropriations of a Literary Icon
    THE UNIVERSAL QUIXOTE: APPROPRIATIONS OF A LITERARY ICON A Dissertation by MARK DAVID MCGRAW Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Eduardo Urbina Committee Members, Paul Christensen Juan Carlos Galdo Janet McCann Stephen Miller Head of Department, Steven Oberhelman August 2013 Major Subject: Hispanic Studies Copyright 2013 Mark David McGraw ABSTRACT First functioning as image based text and then as a widely illustrated book, the impact of the literary figure Don Quixote outgrew his textual limits to gain near- universal recognition as a cultural icon. Compared to the relatively small number of readers who have actually read both extensive volumes of Cervantes´ novel, an overwhelming percentage of people worldwide can identify an image of Don Quixote, especially if he is paired with his squire, Sancho Panza, and know something about the basic premise of the story. The problem that drives this paper is to determine how this Spanish 17th century literary character was able to gain near-univeral iconic recognizability. The methods used to research this phenomenon were to examine the character´s literary beginnings and iconization through translation and adaptation, film, textual and popular iconography, as well commercial, nationalist, revolutionary and institutional appropriations and determine what factors made him so useful for appropriation. The research concludes that the literary figure of Don Quixote has proven to be exceptionally receptive to readers´ appropriative requirements due to his paradoxical nature. The Quixote’s “cuerdo loco” or “wise fool” inherits paradoxy from Erasmus of Rotterdam’s In Praise of Folly.
    [Show full text]
  • James Mabbe's Translation of the Exemplarie Novells (1640)
    Maybe Exemplary? James Mabbe’s Translation of the Exemplarie Novells (1640) Alexander Samson University College London ervantes’s influence on seventeenth-century European prose fiction was unique and exemplary. His writing was a catalyst, perhaps even paradigmatic, in the formation of the republic of letters itself. After publication, his stories were taken up, both within Cand beyond Spain, with unprecedented rapidity for works of vernacular prose fiction. In his homeland, at least twenty adaptations of his works appeared before 1680, including adaptations of two of the stories from the Novelas ejemplares (1613) by his rival Lope de Vega, as plots for his plays La ilustre fregona (Parte XXIV, 1641) and El mayor imposible (Parte XXV, 1647, based on El celoso extremeño). A French translation of the Novelas ejemplares came out within a year of its publication in Spain,1 and there were a further eight editions of this translation before 1700. The popularity of Cervantine material in France can be gauged equally from there being no fewer than twenty-three stage adaptations of his work during the same period.2 In England, the case of John Fletcher typifies how rich a vein writers found in Cervantes’s prose: roughly a quar- ter of Fletcher’s extant output of just over fifty plays was based on Cervantine prose originals, 1 Les nouvelles, trans. François de Rosset and Vital d’Audiguier (Paris: Jean Richer, 1615), with an additional story by Sieur de Bellan. Vital d’Audiguier was also the translator of El peregrino en su patria into French. 2
    [Show full text]
  • Fiction Excerpt 2: from the Adventures of Don Quixote
    Fiction Excerpt 2: From The Adventures of Don Quixote (retold with excerpts from the novel by Miguel de Cervantes) Once upon a time, in a village in La Mancha, there lived a lean, thin-faced old gentleman whose favorite pastime was to read books about knights in armor. He loved to read about their daring exploits, strange adventures, bold rescues of damsels in distress, and intense devotion to their ladies. In fact, he became so caught up in the subject of chivalry that he neglected every other interest and even sold many acres of good farmland so that he might buy all the books he could get on the subject. He would lie awake at night, absorbed in every detail of these fantastic adventures. He would often engage in arguments with the village priest or the barber over who was the greatest knight of all time. Was it Amadis of Gaul or Palmerin of England? Or was it perhaps the Knight of the Sun? As time went on, the old gentleman crammed his head so full of these stories and lost so much sleep from reading through the night that he lost his wits completely. He began to believe that all the fantastic and romantic tales he read about enchantments, challenges, battles, wounds, and wooings were true histories. At last he fell into the strangest fancy that any madman has ever had: he resolved to become himself a knight errant, to travel through the world with horse and armor in search of adventures. First he got out some rust-eaten armor that had belonged to his ancestors, then cleaned and repaired it as best he could.
    [Show full text]
  • Sickness and Health in the Work of Cervantes
    I MEDICAL HUMANITIES Sickness and health in the work of Cervantes Barry Ife Barry Ife Cervantes did not publish his first book until he was form of natural language – this should not surprise CBE FKC HonFRAM, 38 and he spent most of his early adult life in the us. There have been many studies of Don Quixote’s Principal, Guildhall army.1 He helped to defeat the Turks at the Battle of so-called madness – or eccentricity3 – but what is School of Music Lepanto in 1571, but was shot in the arm and lost the more interesting is the consistently high correlation and Drama, use of his left hand. En route back to Spain he was in Cervantes’s works between physiological and London captured by pirates and spent five years in prison in psychological states. Clin Med Algiers. He was repatriated back to Spain in 1580: a Don Quixote’s state of mind is explained with 2007;7:608–10 disabled veteran and ex-prisoner of war, no wife, no exceptional clarity in the first chapter of Part I, in pension and only his wits to live on. All else having terms of diet and lifestyle. This diagnosis has been failed, he set about building a new career as one of largely overlooked in the critical literature because the greatest novelists the world has known. Don Quixote does not present with his symptoms Cervantes was proud of his war wound: ‘it looks until after he has left home on the first sally; that is, ugly, but it’s really beautiful, because it was inflicted we get the diagnosis before we see the symptoms.
    [Show full text]
  • Unamuno's “Quixotism”
    The Pennsylvania State University The Graduate School College of the Liberal Arts FLESH AND BONE: UNAMUNO’S “QUIXOTISM” AS AN INCARNATION OF KIERKEGAARD’S “RELIGIOUSNESS A” A Dissertation in Philosophy By Mary Ann Alessandri © 2010 Mary Ann Alessandri Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 ii The dissertation of Mary Ann Alessandri was reviewed and approved* by the following: Shannon Sullivan Professor of Philosophy, Women’s Studies and African and African American Studies Head of the Department of Philosophy Dissertation Adviser Co-Chair of Committee Daniel Conway, Professor and Department Head Philosophy Department, Texas A&M University Co-Chair of Committee Special Member Brady Bowman Assistant Professor of Philosophy John P. Christman Associate Professor of Philosophy and Political Science Nicolás Fernández-Medina Assistant Professor of Spanish Literature, Department of Spanish, Italian and Portuguese *Signatures are on file in the Graduate School. iii ABSTRACT My dissertation explores the philosophical kinship between the existentialist thinkers Søren Kierkegaard (1813-1855) and Miguel de Unamuno (1864-1936) in an attempt to resurrect an ethically religious way of life. In Kierkegaard’s writings one can find a description of a passionately committed way of life that is distinguishable from both his conception of ethics and his version of Christianity. He calls this form of ethical religion or religious ethics “Religiousness A,” but he fails to give a vivid illustration of it that definitively distinguishes it from ethics and Christianity. As a result, the scholarship on Religiousness A is impoverished, and what would otherwise amount to a promising new way of being religious in a secular world has been largely regarded as unimportant or simply a watered-down version of Christianity.
    [Show full text]
  • The Search for Dog in Cervantes
    humanities Article Article The Search for Dog in Cervantes ID Ivan Schneider Seattle, WA 98104,98104, USA; [email protected] Received: 20 20 March March 2017 2017;; Accepted: 11 11 July July 2017 2017;; Published: 14 14 July July 2017 2017 Abstract: This paper reconsiders the missing galgo from the first line in Don Quixote with a set of Abstract: This paper reconsiders the missing galgo from the first line in Don Quixote with a set of interlocking claims: first, that Cervantes initially established the groundwork for including a talking interlocking claims: first, that Cervantes initially established the groundwork for including a talking dog in Don Quixote; second, through improvisation Cervantes created a better Don Quixote by dog in Don Quixote; second, through improvisation Cervantes created a better Don Quixote by transplanting the idea for a talking dog to the Coloquio; and third, that Cervantes made oblique transplanting the idea for a talking dog to the Coloquio; and third, that Cervantes made oblique references to the concept of dogs having human intelligence within the novel. references to the concept of dogs having human intelligence within the novel. Keywords: Cervantes; talking dogs; narratology; animal studies Keywords: Cervantes; talking dogs; narratology; animal studies 1. Introduction 1. Introduction “[Cervantes] saw his scenes and the actors in them as pictures in his mind before he put “[Cervantes]them on paper, saw much his scenes as El Greco and the [see actors Figure in1] madethem as little pictures clay models in his ofmind his figuresbefore beforehe put thempainting on paper, them.” much (Bell as1947 El ,Greco p.
    [Show full text]
  • Don Quijote in English
    Tilting at Windmills: Don Quijote in English _________________________________________ Michael J. McGrath rinted on the inside jacket of Edith Grossman’s 2003 transla- tion of Don Quijote is the following statement: “Unless you read PSpanish, you have never read Don Quixote.” For many people, the belief that a novel should be read in its original language is not contro- vertible. The Russian writer Dostoevsky learned Spanish just to be able to read Don Quijote. Lord Byron described his reading of the novel in Spanish as “a pleasure before which all others vanish” (Don Juan 14.98). Unfortunately, there are many readers who are unable to read the novel in its original language, and those who depend upon an English transla- tion may read a version that is linguistically and culturally quite different from the original. In his article “Traduttori Traditori: Don Quixote in English,” John Jay Allen cites the number of errors he encountered in different translations as a reason for writing the article. In addition, ac- cording to Allen, literary scholarship runs the risk of being skewed as a result of the translator’s inability to capture the text’s original meaning: I think that we Hispanists tend to forget that the overwhelming ma- jority of comments on Don Quixote by non-Spaniards—novelists, theoreticians of literature, even comparatists—are based upon read- ings in translation, and I, for one, had never considered just what this might mean for interpretation. The notorious difficulty in es- tablishing the locus of value in Don Quixote should alert us to the tremendous influence a translator may have in tipping the balance in what is obviously a delicate equilibrium of ambiguity and multi- valence.
    [Show full text]
  • Balanchine's Don Quixote
    Ballet Notes Balanchine’s Don Quixote June 2007 2 Balanchine’s Don Quixote Choreography: George Balanchine Staged by: Suzanne Farrell © Music: Nicolas Nabokov Used by arrangement with European American Music Distributors LLC, U.S. and Canadian agent for M.P. Belaieff Musikverlag, publisher and copyright owner. Set Design: Zack Brown Costume Design: Holly Hynes Lighting Design: Brad Fields Produced in association with: The Suzanne Farrell Ballet Company Balanchine’s Don Quixote is a gift from Roger and Kevin Garland. Cover: Heather Ogden and Hazaros Surmeyan. Left: Suzanne Farrell in rehearsal. 3 4 Synopsis …everything a man does he does for his ideal woman. quickly thwarted, however, by violent clashes with real- You live only one life and you believe in something and ity. He is held up to ridicule at the court of the Duke I believe in a little thing like that. and Duchess, tossed about like a rag doll, assaulted George Balanchine, Life Magazine, August 1965 with swords, and “grief-stricken to find himself so injured by those for whom he had done so much good.” Secluded in his study, a gentleman late in his life, by the name of Alonso Quixano the Good, surrounds him- In spite of his frequent, humiliating setbacks, Don self with gigantic books of chivalry. Fairly devouring the Quixote exhibits a vigour and a richness of invention; tales of adventure, peril and romance, he has come to we wonder at his endless courage in the face of pre- inhabit the life of a knight-errant of yore and “every- posterous circumstance, his inextinguishable will to thing our adventurer thought, saw, or imagined seemed survive — flourish — on his crusade.
    [Show full text]
  • Man of La Mancha 2 Westport Country Playhouse
    compiled by sophie siegel-warren edited by david kennedy study guide associate artistic director thank you to our education sponsors THE DAVID & GERI EPSTEIN PRIVATE FOUNDATION WESTPORT COUNTRY PLAYHOUSE Theater Audience Etiquette Speaking to your students about theater etiquette is important. Students should be aware that this is a LIVE performance and that they should not talk during the show. Students may respond to the strong emotions elicited by theater in different ways, and appropriate audience reactions are warmly encouraged. But please take the time to address and discuss proper behavior in the theater with your students. This will enhance their appreciation of the work and allow other audience members to enjoy the performance at the same time. We have provided the following guidelines: • Please do not bring food or drink into • Remember that this is a live performance, and that the theater. in addition to being disruptive to your neighbors, • Turn off all cellular phones and pagers or anything unruly behavior can be heard by the actors on stage. that makes noise or lights up. • Act with maturity during romantic, violent or other • No texting, please. challenging scenes. • Please talk only before or after the performance or • Open your eyes, ears and mind to the world on during intermission. stage. Theater has the power to transport us to another place; open your heart to that experience. Thank you for your help, and we hope that you enjoy the show! STUDY GUIDE | MAN OF LA MANCHA 2 WESTPORT COUNTRY PLAYHOUSE The Plot In the late 1500s, Miguel de Cervantes is imprisoned by When the lead muleteer abuses Aldonza, Quixote leaps to the Spanish Inquisition.
    [Show full text]
  • Don Quixote by Manuel Gutiérrez Aragón
    Media Representations of Don Quixote by Manuel Gutiérrez Aragón Sonya S. Gupta lamia Millia Islamia Don Quixote de la Mancha is a foundational text of Western literature and can undoubtedly be considered the master narrative of Spanish culture. During the four hundred years of its publication, the novel has not only lent itself to varying critical perspectives, but has also, as Anthony Cascardi puts it "spawned a range of suceessors:.I Cinema is one medium through whieh the text has reaehed mass audienees eutting across cultures and languages. In faet, ever sinee the birth of cinema, the Knight of the Mournful Countenanee has inspired filrnrnakers around the world. Their visions of Miguel de Cervantes' novel and his delusional devotee of ehivalry and romance have brought to the sereen innumerable representations of Don Quixote and Sancho Panza whieh, together with Gustav Doré's rnid _19th century engravings, and later, Picasso' s drawings and the Lladró company' s international line of Quixote figurines, have created a "cumulative I Anthony Cascardi, Cambridge Campanian ta Cervantes, Cambridge, Cambridge Universíty Press, 2002, p.I Sonya S. Gupta iconography,,2 that has shaped the protagonists of the seventeenth century Spanish classic in the popular imagination.3 2 See Augusto Manuel Torres, Conversaciones con Manuel Gutierrez Aragón, 2d ed., Madrid, Fundamentos, 1992, p 218-19. 3 As early as 1902, the French pair of Ferdinand Zecca and Lucien Noguer became the first in bringing Cervantes' text to cinema in a 16 seconds film. Their compatriot George Meliés did it again in his film entitled Les aventures de Don Quichotte (1908/Star Film, 355 feet.
    [Show full text]