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Columbia University Libraries Music Library Zarzuela Collection
COLUMBIA UNIVERSITY LIBRARIES MUSIC LIBRARY ZARZUELA COLLECTION [Shelvedoff-sST BlOTJ^ COU-tCTloh) -XS Shelvedoffeftf 1993 CONTENTS page DESCRIPTION OF THE COLLECTION 1 LISTING OF CONTENTS IN BOXORDER 4 BIBLIOGRAPHIC TITLE SHEETS (duplicates are included in boxes and have been filmed with the materials) COLUMBIA UNIVERSITY LIBRARIES MUSIC LIBRARY ZARZUELA COLLECTION DESCRIPTION The Zarzuela Collection at Columbia University consists of almost five hundred different zarzuelas. Both nineteenth and twentieth century works are represented by libretti, scores, and separate instrumental parts. Formats include printed, typewritten, and handwritten items. Many of the libretti contain role assignments and other handwritten notes which indicate they were used by a traveling zarzuela company. Among the authors of the libretti are Javer de Bergos y Sarragoiti, Jose Estremero y Cuenca, Jacinto Benavente, and the Quintero brothers. BACKGROUND The Zarzuela Collection was given to the Columbia Music Library by the Hispanic Institute in 1986. The Institute was founded in 1916 as the Instituto de las Espanas en los Estados Unidos by Frederico de Onis, the year he became head of the Spanish Department at Columbia University. In 1940 the Institute acquired its present name, and in 1961 it moved to the Columbia campus. Since there was no space in the new quarters for the collection, it was donated to the Music Library in two installments — the first included the music scores, the second the libretti and other texts. The source and original organization of the collection are difficult to determine, since the card catalog which accompanied it did not accurately reflect it. In an unpublished study, Janet L. -
Undergraduate Research Forum · · · Tuesday, April 1, 2014 1:00-4:00 Pm, Mulva Library
UNDERGRADUATE RESEARCH FORUM · · · TUESDAY, APRIL 1, 2014 1:00-4:00 PM, MULVA LIBRARY RECEPTION FOLLOWING · · · HENDRICKSON DINING ROOM 4:00-5:30 PM SPONSORED BY THE COLLABORATIVE: CENTER FOR UNDERGRADUATE RESEARCH The Undergraduate Research Forum highlights the valued tradition at St. Norbert College of collaboration taking place in laboratories, studios, and other scholarly or creative settings between our students and our faculty and staff, resulting in a rich array of scholarly research and creative work. This celebration features collaborative projects that evolved out of independent studies, class assignments, and casual interactions as well as formal collaborations supported by internal grant funding. 1 Table of Contents Abstracts………………………………..……………………3-18 Biography of Dr. George Yancy………………………….......19 Acknowledgments……………………………………………..20 Schedule…………………………………………………....21-22 2 Abstracts are listed in alphabetical order by presenter’s last name. The Afferent Connectivity of the Substance P Reactive Nucleus (SPf) in the Zebra Finch is Sexually Monomorphic Hannah Andrekus, Senior Biology Major Kevin Beine, Senior Biology Major David Bailey, Associate Professor of Biology The lateral boundary of the hippocampus in birds, a band of cells named SPf (due to high levels of the neuropeptide substance P), may be a homolog of the mammalian entorhinal cortex, the primary hippocampal input. Little is known about the regions that communicate with SPf. Prior studies in our lab revealed that, in male zebra finches, SPf receives input from cells within a number of visual, auditory, and spatial memory- forming regions. We have extended this work to female birds using the retrograde tracer DiI and fluorescence microscopy, which have revealed the connections of this region to be sexually monomorphic. -
Abstracts I Ehumanista 24 (2013) Marta Albalá Pelegrín, El Arte Nuevo De Lope De Vega a La Luz De La Teoría Dramática Italia
Abstracts i Marta Albalá Pelegrín, El Arte nuevo de Lope de Vega a la luz de la teoría dramática italiana contemporánea: Poliziano, Robortello, Guarini y el Abad de Rute Abstract: Since the end of the 15th century Italian poetic theory was the stage of numerous polemics concerning the conception of comedy that deeply influenced Western theatrical production. During the 16th century we encounter two main currents of thought: one of them was constituted by theorist who, starting with Francesco Robortello (1516-1567), reread Aristotle's Poetics as a set of rules, with which to determine and judge the quality of contemporary artistic production; the other was composed by men of letters such as Angelo Poliziano (1454-1494) or Battista Guarini (1538-1612), who conceived of comedy as a historically changeable category, one which was generically malleable, and open to the innovations of contemporary playwrights. This article reveals Lope de Vega's New Art of Making Comedies (1609) as a text belonging to this latter tradition, with which it presents numerous concomitances and points of contact at both the discursive and the conceptual level. The existence of such actual relation is attested in a contemporary work that has been overlooked up to date, the Didascalia Multiplex (1615) by the Abbot of Rute (1565-1526). Resumen: Desde finales del siglo XV la teoría poética italiana fue escenario de numerosas polémicas en torno a la concepción de la comedia que tuvieron gran impacto en la producción teatral occidental. A lo largo del siglo XVI encontramos -
DE PLAYERAS Y SEGUIDILLAS La Seguiriya Y Su Legendario Nacimiento
DE PLAYERAS y SEGUIDILLAS La Seguiriya y su legendario nacimiento Guillermo Castro Buendía Musicólogo especializado en Flamenco Introducción En el flamenco, parece que nunca está dicha la última palabra en materia de investigación. En pleno siglo XXI, a nosotros todavía nos asaltan dudas en aspectos relacionados con el origen musical de algunos palos, sobre todo de los primeros en formarse: es el caso de la seguiriya. En este trabajo vamos a hacer un análisis de las músicas que sirvieron de soporte a los diferentes tipos estróficos cultivados en la seguiriya, para intentar comprender el origen musical y desarrollo de este singular e importante estilo, uno de los puntales del género flamenco. Para ello utilizaremos los documentos musicales que hemos podido encontrar desde principios del siglo XIX, época aún preflamenca, hasta principios del siglo XX, momento en que la seguiriya ya se encontraba plenamente definida y estructurada desde el punto de vista flamenco. Igualmente, realizaremos un profuso estudio de los metros que aparecen en la seguiriya, siendo éste un aspecto muy particular e importante –creemos nosotros– dentro de la transmisión oral y, en particular, de este estilo flamenco. Recomendamos la impresión de este extenso trabajo para una mayor comodidad de lectura. Hemos incluido un índice al final (pág. 150) para facilitar el acceso a los diferentes puntos del mismo. Preliminares ―Lo flamenco‖ Uno de los problemas que arrastra el flamenco en su faceta de investigación es la propia definición de ―lo flamenco‖, y su aplicación en las distintas etapas que como arte ha venido desarrollando. Es evidente que ―lo flamenco‖ desde el punto de vista musical, no fue igual a mediados del siglo XIX que a finales, o ya entrado el siglo XX, y no digamos en las últimas décadas del pasado siglo. -
Internacional… . De Hispanistas… …
ASOCIACIÓN………. INTERNACIONAL… . DE HISPANISTAS… …. ASOCIACIÓN INTERNACIONAL DE HISPANISTAS 16/09 bibliografía publicado en colaboración con FUNDACIÓN DUQUES DE SORIA © Asociación Internacional de Hispanistas © Fundación Duques de Soria ISBN: 978-88-548-3311-1 Editora: Blanca L. de Mariscal Supervisión técnica: Claudia Lozano Maquetación: Debora Vaccari Índice EL HISPANISMO EN EL MUNDO: BIBLIOGRAFÍA Y CRÓNICA ÁFRICA Argelia, Marruecos y Túnez...................................................................................... 11 Egipto........................................................................................................................ 13 AMÉRICA Argentina.................................................................................................................... 14 Canadá........................................................................................................................ 22 Chile........................................................................................................................... 25 Estados Unidos........................................................................................................... 29 México........................................................................................................................ 41 Perú.............................................................................................................................49 Venezuela.................................................................................................................. -
César Sarachu Actor
Mi hija pequeña me ha pedido que no vaya a ver sus partidos de baloncesto con gafas de nadar. Al explicarle que con ellas por fin entiendo las reglas e interpreto correctamente las jugadas, me ha respondido que puedo seguir yendo a sus partidos con gafas de nadar siempre que no me siente junto a los otros padres… Una mañana, al despertar, encontré en el suelo, rotas, mis gafas de miope. Tras algunos instantes de desconcierto, recuperé la calma al recordar que tenía otras gafas graduadas: las de natación, que mi familia me había regalado en un cumpleaños. El caso es que empecé a moverme con ellas por la casa, lo que sorprendió un poco a mis hijos –a mi mujer no; a ella no le sorprendió nada-, sobre todo cuando salí al supermercado a comprar leche, que hacía falta. Fue en el súper donde me di cuenta de que, tanto como el modo en que yo veía a la gente, cambiaba el modo en que la gente me veía a mí. Pruebe a ponerse unas gafas graduadas de natación y salga al mundo. Nadie se conformará con la explicación más sencilla –“Esta persona lleva esas gafas para no romperse la crisma”-. Unos te toman por provocador. Otros te tratan como alguien que necesita ayuda –ésos son los más peligrosos-. Algunos te prestan una atención que jamás te dieron. Y hay quien no te ve, quien te descarta como un error de su percepción –ante ésos vives en un estado de presencia ausencia muy interesante; ser una persona con gafas intensamente azules es lo más cerca que yo he estado de ser un ángel- Al salir del súper, en la calle, saqué la libreta DIN-A7 que siempre me acompaña y empecé a escribir sobre lo que me pasaba y sobre lo que podía pasarme –desde niño me ha costado diferenciar lo uno de lo otro; detrás de mis gafas azules, me resultaba imposible distinguir-. -
Preludio a La Dama Boba De Lope De Vega (Historia Y Crítica)
PRELUDIO A LA DAMA BOBA DE LOPE DE VEGA (HISTORIA Y CRÍTICA) Javier Espejo Surós y Carlos Mata Induráin (eds.) BIADIG | BIBLIOTECA ÁUREA DIGITAL DEL GRISO | 54 LA VERSIÓN DE LA DAMA BOBA DE FEDERICO GARCÍA LORCA Juan Aguilera Sastre Isabel Lizarraga Vizcarra Después del triunfal estreno de Bodas de sangre el 29 de julio de 1933 en el bonaerense Teatro Maipo, Lola Membrives lograba con- vencer a Federico García Lorca para que, acompañado por Manuel Fontanals, viajase a la capital porteña. Desde su llegada el 13 de octu- bre, a lo largo de casi medio año iba a consolidar de manera rotunda su prestigio como poeta, conferenciante y, sobre todo, como autor dramático tras las reposiciones en el Teatro Avenida de Bodas de san- gre, La zapatera prodigiosa y Mariana Pineda. Pero ni siquiera podía sospechar que aquel viaje iba a depararle un triunfo más: el de su versión escénica de La dama boba, de Lope de Vega, que realizó por encargo expreso de la actriz Eva Franco y se estrenó el 3 de marzo de 1934 en el Teatro de la Comedia. Llegó a alcanzar 161 representa- ciones consecutivas hasta el 17 de mayo (cerca de 200 en total), muy por encima de las 150 de Bodas de sangre en sucesivas reposiciones, las 70 de La zapatera prodigiosa o las 20 de Mariana Pineda. Este éxito espectacular continuaría posteriormente en España, con motivo del tricentenario de la muerte de Lope. Se estrenó al aire libre el 27 de agosto de 1935 en la Chopera del Retiro, a cargo de la compañía de Margarita Xirgu, dirigida por Cipriano de Rivas Cherif, y de allí pasó al escenario del Teatro Español y más tarde a los de Barcelona, Va- lencia, Bilbao, Logroño y Santander, así como a La Habana y Méxi- co, las primeras etapas de la gira americana de la compañía en 1936. -
What Is Authorial Philology? I a Paola Italia, Giulia Raboni, Et Al
I TAL What is Authorial Philology? I A PAOLA ITALIA, GIULIA RABONI, ET AL. R , ABON A stark departure from traditional philology, What is Authorial Philology? is the first comprehensive treatment of authorial philology as a discipline in its I , , own right. It provides readers with an excellent introduction to the theory ET and practice of editing ‘authorial texts’ alongside an exploration of authorial AL philology in its cultural and conceptual architecture. The originality and . distinction of this work lies in its clear systematization of a discipline whose W autonomous status has only recently been recognised. What is Authorial This pioneering volume offers both a methodical set of instructions on how to read critical editions, and a wide range of practical examples, expanding Philology? upon the conceptual and methodological apparatus laid out in the first two chapters. By presenting a thorough account of the historical and theoretical framework through which authorial philology developed, Paola Italia, Giulia HAT Raboni and their co-authors successfully reconceptualize the authorial text as I S an ever-changing organism, subject to alteration and modification. A UTHO What is Authorial Philology? will be of great didactic value to students and researchers alike, providing readers with a fuller understanding of the rationale behind different editing practices, and addressing both traditional and newer RI AL methods such as the use of the digital medium and its implications. Spanning P PAOLA ITALIA, GIULIA RABONI, ET AL. the whole Italian tradition from Petrarch to Carlo Emilio Gadda, and with H I examples from key works of European literature, this ground-breaking volume LOLO provokes us to consider important questions concerning a text’s dynamism, the extent to which an author is ‘agentive’, and, most crucially, about the very G Y nature of what we read. -
Performing Recognition: El Castigo Sin Venganza and the Politics of the ‘Literal’ Translation
Performing Recognition: El castigo sin venganza and the Politics of the ‘Literal’ Translation Sarah Maitland Cielos, / hoy se ha de ver en mi casa / no más de vuestro castigo. – El castigo sin venganza In the opening scene of El castigo sin venganza the Duke of Ferrara is in disguise. So soon before his wedding to Casandra, and despite the rumours of his debauchery, it is imperative that his hunt for female entertainment goes unnoticed. His position requires him to take a wife; in so doing, he ensures justice for the people by avoiding civil war. Yet by denying his freedom-loving nature, he must do injustice to himself. When he learns of Casandra’s affair with his son Federico, rather than make their adultery public he contrives her death at Federico’s own hand. What the people see, however, is the righteous execution of the man who murdered Casandra out of jealousy for his lost inheritance. Through lies and subterfuge the Duke ensures that in public his honour is protected while in private he enacts their punishment. This is a play that deals in disguise. It locates itself in the slippery distinctions between duty and desire, private sentiment and public action, moral justice and its public fulfilment. Unlike today, where transparent democracy demands that every stage of the criminal justice process is available to public scrutiny, in Ferrara, where honour is directly proportional to public standing, due process is a function of public perception. This situation places the Duke in an invidious position. He has been harmed on two fronts – by his wife’s adultery and his son’s treachery – but to seek justice would be to make their betrayal public, damaging his reputation and thereby creating a third, even greater harm: the loss of support for the legitimacy of his rule. -
ABSTRACTS More Hostile Toward the Idea
Newberry Center for Renaissance Studies modernity. Similar to but not synonymous with indigeneity and aboriginality, autochthony has a range of meanings, including that 2016 Multidisciplinary life literally springs from the earth itself, and that territorial sovereignty belongs to native-born inhabitants rather than Graduate Student Conference immigrants. In contrast to ancient Athenians, who were proud to claim autochthony, English authors from Edmund Spenser to Thomas Browne were more ambivalent about and ultimately ABSTRACTS more hostile toward the idea. In the Faerie Queene (1596), Spenser grounds an historical fiction of English origins on the triumph of settlers over autochthones. Browne, for his part, deems autochthony “repugnant” to chronology, theology, and THURSDAY AFTERNOON SESSIONS philosophy. Whereas ancient and present-day expressions of autochthony function primarily as political myth-ideologies, early modern autochthony was additionally inextricable from 1: COSMOGRAPHY, SPACE, PLACE theological and scientific questions, including genesis and Chair: Monica Solomon Philosophy, Notre Dame spontaneous generation. This paper works to give new perspective on the ways seventeenth-century authors conceived The Medieval Heliocentrism of Mercury and Venus: A New and related to the “earth itself” during a time of geo-fugal Interpretation of William of Conches’ Argument for tendencies, including shifts from predominantly terrestrial to Planetary Order maritime existence, and the gradual turn from Ptolemaic James Brannon History of Science, Wisconsin-Madison geocentrism toward Copernican heliocentrism. I show that despite their adamant disavowal of autochthony, both Spenser The twelfth-century scholar William of Conches adhered to the and Browne explore and experiment with the concept’s peculiar established planetary order of the moon closest to earth, with consequences for historiography. -
4.1 Lope De Vega's La Dama Boba
I TAL What is Authorial Philology? I A PAOLA ITALIA, GIULIA RABONI, ET AL. R , ABON A stark departure from traditional philology, What is Authorial Philology? is the first comprehensive treatment of authorial philology as a discipline in its I , , own right. It provides readers with an excellent introduction to the theory ET and practice of editing ‘authorial texts’ alongside an exploration of authorial AL philology in its cultural and conceptual architecture. The originality and . distinction of this work lies in its clear systematization of a discipline whose W autonomous status has only recently been recognised. What is Authorial This pioneering volume offers both a methodical set of instructions on how to read critical editions, and a wide range of practical examples, expanding Philology? upon the conceptual and methodological apparatus laid out in the first two chapters. By presenting a thorough account of the historical and theoretical framework through which authorial philology developed, Paola Italia, Giulia HAT Raboni and their co-authors successfully reconceptualize the authorial text as I S an ever-changing organism, subject to alteration and modification. A UTHO What is Authorial Philology? will be of great didactic value to students and researchers alike, providing readers with a fuller understanding of the rationale behind different editing practices, and addressing both traditional and newer RI AL methods such as the use of the digital medium and its implications. Spanning P PAOLA ITALIA, GIULIA RABONI, ET AL. the whole Italian tradition from Petrarch to Carlo Emilio Gadda, and with H I examples from key works of European literature, this ground-breaking volume LOLO provokes us to consider important questions concerning a text’s dynamism, the extent to which an author is ‘agentive’, and, most crucially, about the very G Y nature of what we read. -
La Zarzuela Grande En Amadeo Vives (1871-‐1932)
Universidad de Oviedo Facultad de Filosofía y Letras Máster Interuniversitario en Patrimonio Musical por las Universidades de Oviedo, Granada e Internacional de Andalucía Curso 2011/2012 La zarzuela grande en Amadeo Vives (1871-1932). Estudio de La villana Irene Guadamuro García Tutora: Dra. Miriam Perandones Lozano “El entusiasmo es un acorde de novena mayor, que se compone de cinco notas y se resuelve en el inefable acorde perfecto del ideal. La primera cuerda es una máxima exaltación; la segunda, la alegría; la tercera, la pureza de intención; la cuarta, la ilusión de la victoria, y la quinta, la generosidad absoluta” Amadeo Vives SUBIRÁ, José. “La estética ante Amadeo Vives”. Revista de Ideas Estéticas, enero-febrero-marzo, número 117, 1972, p.5 2 Agradecimientos Quiero mostrar mi más profundo agradecimiento a todas aquellas personas sin cuya colaboración este trabajo no hubiese sido posible. En primer lugar, a Miriam, por haber confiado en mí para este trabajo, por tus consejos, orientaciones y tu paciencia, siempre dispuesta a ayudarme con una sonrisa. Gracias al personal de la Fundación Juan March, la Biblioteca Nacional de España, la Biblioteca de Catalunya, la Biblioteca de la Universidad de Oviedo y a Mª Luz González Peña, directora del Centro de Documentación y Archivo de la Sociedad General de Autores y Editores, por la información aportada en la investigación. Un agradecimiento especial a Manuel Martínez Muñoz, por su amabilidad y su colaboración desinteresada cediendo a este trabajo varias fotografías. Debo mencionar igualmente a mis amigas y compañeras de máster Atenea, Andrea y Jessica, por su ayuda y mensajes de ánimo a lo largo de todo el curso.