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Centro Cultural De La Raza Archives CEMA 12
http://oac.cdlib.org/findaid/ark:/13030/kt3j49q99g No online items Centro Cultural de la Raza Archives CEMA 12 Finding aid prepared by Project director Sal Güereña, principle processor Michelle Wilder, assistant processors Susana Castillo and Alexander Hauschild June, 2006. Collection was processed with support from the University of California Institute for Mexico and the United States (UC MEXUS). Updated 2011 by Callie Bowdish and Clarence M. Chan UC Santa Barbara Library, Department of Special Collections University of California, Santa Barbara Santa Barbara, California, 93106-9010 Phone: (805) 893-3062 Email: [email protected]; URL: http://www.library.ucsb.edu/special-collections © 2006 Centro Cultural de la Raza CEMA 12 1 Archives CEMA 12 Title: Centro Cultural de la Raza Archives Identifier/Call Number: CEMA 12 Contributing Institution: UC Santa Barbara Library, Department of Special Collections Language of Material: English Physical Description: 83.0 linear feet Date (inclusive): 1970-1999 Abstract: Slides and other materials relating to the San Diego artists' collective, co-founded in 1970 by Chicano poet Alurista and artist Victor Ochoa. Known as a center of indigenismo (indigenism) during the Aztlán phase of Chicano art in the early 1970s. (CEMA 12). Physical location: All processed material is located in Del Norte and any uncataloged material (silk screens) is stored in map drawers in CEMA. General Physical Description note: (153 document boxes and 5 oversize boxes). creator: Centro Cultural de la Raza (San Diego, Calif.). Access Restrictions None. Publication Rights Copyright resides with donor. Copyright has not been assigned to the Department of Special Collections, UCSB. All Requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Collections. -
Indigenous Resistance Movements in the Peruvian Amazon
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2018 The Production of Space: Indigenous Resistance Movements in the Peruvian Amazon Christian Calienes The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2526 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE PRODUCTION OF SPACE Indigenous Resistance Movements in the Peruvian Amazon By Christian Calienes A dissertation submitted to the Graduate Faculty in Earth and Environmental Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 i © 2018 CHRISTIAN CALIENES All Rights Reserved ii The Production of Space: Indigenous Resistance Movements in the Peruvian Amazon by Christian Calienes This manuscript has been read and accepted for the Graduate Faculty in Earth & Environmental Sciences in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Inés Miyares Chair of Examining Committee Date Cindi Katz Executive Officer Supervisory Committee: Inés Miyares Thomas Angotti Mark Ungar THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT The Production of Space: Indigenous Resistance Movements in the Peruvian Amazon By Christian Calienes Advisor: Inés Miyares The resistance movement that resulted in the Baguazo in the northern Peruvian Amazon in 2009 was the culmination of a series of social, economic, political and spatial processes that reflected the Peruvian nation’s engagement with global capitalism and democratic consolidation after decades of crippling instability and chaos. -
En España Y La Influencia De La Comedia Dell'arte
El «oficio de representar» en España y la influencia de la comedia dell’arte (1567-1587) CARMEN SANZ AYAN y BERNARDO J. GARCtA GARCIA Al estudiar las compañías contemporáneas a la expansión del fenómeno teatral en España durante el último tercio del siglo xví1, es preciso reptan- tearse, una vez más, qué influjo llegaron a tener en este proceso las agrupa- ciones de commedia del/arte italianas y cuáles fueron sus genuinas aportacio- nes. Los defensores más firmes de que los modos italianos de hacer teatro, introducidos en la Península por las compañías delI’arte, ejercieron una in- fluencia decisiva sobre la escena española, parten de la consideración de que en la España de las décadas centrales del Quinientos todavía se hallaban tan poco desarrollados el oficio de representar y las artes escénicas que sólo un aire foráneo procedente de Italia pudo hacerlas emerger y preparar las con- diciones necesarias para su inmediata expansión. Como afirma Arróniz, a la llegada de las compañías italianas a España: «No hay teatros, no hay compa- ñías y los actores provienen de otros oficios» 2 No es nuestra intención analizar en este trabajo las influencias que ejer- cieron las fórmulas empleadas por la túommedia dell’arte en la composición de las obras teatrales españolas coetáneas, ni las aportaciones estéticas, es- cenográficas y técnicas que adoptaron las compañías españolas en repre- sentaciones. Centraremos nuestra atención en los aspectos relacionados con la organización de las compañías y su funcionamiento interno, valo- Este articulo se inscribe dentro de los trabajos que ambos venimos desarrollando para un proyecto de investigación financiado por la Comunidad de Madrid sobre las compa6ías de co- medias y los teatros madrileños entre los años 1575 y 1.615. -
Ministerial Regional Meeting
MINISTERIAL REGIONAL MEETING “Education for All in Latin America and the Caribbean: Balance and Challenges post-2015” MINISTRY OF EDUCATION OF PERU Lima, October 30th and 31st, 2014 Education for All in Latin America and the Caribbean: Balance y Challenges post-2015 2 INDEX PRESENTATION 03 ORGANIZATION Organizers 04 Contacts 04 Participants 05 Venue of the Event 05 General Facilities 06 Visa 06 Health Services 06 Smokers 06 FACILITIES: Ministers 07 FACILITIES: Delegates and Technical Teams 08 GENERAL INFORMATION LIMA, Host City 14 Climate 15 Currency 15 Commerce 17 Telecommunications 17 Taxes 17 Electricity 17 Banks and Credit Card Services 17 Local Time 18 Attention Hours 18 Places of Interest 19 Gastronomy 22 Education for All in Latin America and the Caribbean: Balance y Challenges post-2015 3 PRESENTATION Education for All (EFA) was promoted by five multilateral organizations (UNESCO, UNICEF, UNDP, UNFPA and the World Bank) in the World Conference on Education for All held in Jomtien (1990) where it was assumed an “expanded vision of learning” and it was agreed to establish universal access to basic education and to massively reduce illiteracy before the end of the decade. This global commitment to provide quality basic education for all children, youth and adults was assumed by our country in the World Education Forum in Dakar (2000), where there were established six objectives aiming to meet the learning needs of all children, youth and adults by 2015. The priority activities of EFA are related to early childhood education, high quality universal primary education, education for youth and adults, literacy, gender equality and quality of education. -
The History of Europe — Told by Its Theatres
THE HISTORY OF EUROPE — TOLD BY ITS THEATRES Exhibition magazine CONTENT 4 Introductions We live in Europe, and it is therefore our task to make this part of the world work, in a peaceful way and for the best of all people liv - 6 Mediterranean experience ing here. To achieve this, we have to cooperate across borders, be - 10 religious impact cause only together we can solve the challenges we are facing together. For this, institutions are necessary that make cooperation 14 Changing society – possible on a permanent basis. For this, it is necessary to jointly changing building create an idea of how Europe shall develop now and in the future. 18 The Theatre royal, drury lane For this, it is necessary to remember where we come from – to remember our common history in Europe. 22 Max littmann For this, the touring exhibition The history of Europe – told by and the democratisation its theatres proposes a unique starting point: our theatres. And this of the auditorium is not a coincidence. Since the first ancient civilisations developed 24 Aesthetics and technology in Europe 2500 years ago, the history of Europe has also been the 28 The nation history of its theatre. For 2500 years, theatre performances have been reflecting our present, past and possible future. For the per - 34 Spirit of the nation set ablaze formances, this special form of a joint experience and of joint re - 38 To maintain the common flection, Europeans have developed special buildings that in turn identity – the Teatr Wielki mirror the development of society. And thus today we find theatre in Warsaw buildings from many eras everywhere in Europe. -
C 1992-219 a Nahuatl Interpretation of the Conquest
In: Amaryll Chanady, Latin American Identity and Constructions of Difference, University of Minnesota Press, Minneapolis, Vol. 10, 1994, pp. 104-129. Chapter 6 A Nahuatl Interpretation of the Conquest: From the "Parousia" of the Gods to the "Invasion" Enrique Dussel (translated by Amaryll Chanady) In teteu inan in tetu ita, in Huehueteutl [Mother of the gods, Father of the gods, the Old God], lying on the navel of the Earth, enclosed in a refuge of turquoises. He who lives in the waters the color of a blue bird, he who is surrounded by clouds, the Old God, he who lives in the shadows of the realm of the dead, the lord of fire and time. -Song to Ometeótl, the originary being of the Aztec Tlamatinime1 I would like to examine the "meaning of 1492," which is nothing else but "the first experience of modem Europeans," from the perspective of the "world" of the Aztecs, as the conquest in the literal sense of the term started in Mexico. In some cases I will refer to other cultures in order to suggest additional interpreta- tions, although I am aware that these are only a few of the many possible examples, and that they are a mere "indication" of the problematic. Also, in the desire to continue an intercultural dia- logue initiated in Freiburg with Karl-Otto Apel in 1989, I will re- fer primarily to the existence of reflexive abstract thought on our continent.2 The tlamatini In nomadic societies (of the first level) or societies of rural plant- ers (like the Guaranis), social differentiation was not developed sufficiently to identify a function akin to that of the "philoso- pher", although in urban society this social figure acquires a dis- tinct profile.3 As we can read in Garcilaso de la Vega's Comenta- rios reales de los Incas: 104 105 Demás de adorar al Sol por dios visible, a quien ofrecieron sacrificios e hicieron grandes fiestas,.. -
James Nemiroff-Final Dissertation
THE UNIVERSITY OF CHICAGO COMEDIAS JUDAIZANTES: PERFORMING JUDAISM IN LOPE DE VEGA’S TOLEDAN PLAYS (1590-1615) A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ROMANCE LANGUAGES AND LITERATURES BY JAMES MATTHEW NEMIROFF CHICAGO, ILLINOIS MARCH 2016 Table of Contents List of Figures iii Abstract iv Acknowledgments vi Introduction: The Jew as a Dramatic Problem In the Toledan Comedias of Lope de Vega 1 Chapter 1: Toledo as Foundational City: Genealogical Crypto-Narrations in El Postrer Godo de España and La comedia de Bamba 17 Chapter 2: Toledo as a City of Tragedy: Iconographic Crypto-Narrations in El Niño inocente de la Guardia and in El Hamete de Toledo 77 Chapter 3: Toledo as a City of Remembrance: Neo-Platonic Crypto-Narrations in Las paces de los reyes y judía de Toledo and La hermosa Ester 157 Conclusion: The comedia nueva as comedia judaizantte 225 Appendix: Figures 229 Bibliography 235 ii List of Figures Figure 1: Berruguete, Pedro (c.1450-1504) St. Dominic Presiding over the Burning of Heretics (oil on panel), / Prado, Madrid, Spain / The Bridgeman Art Library p. 230. Figure 2: El Greco (Domenikos Theotokopoulos), Greek (active in Spain), 1541–1614 Saint Dominic in Prayer, about 1605 Oil on canvas 104.7 x 82.9 cm (41 1/4 x 32 5/8 in.) Photograph © Museum of Fine Arts, Boston p. 231. Figure 3: (Unknown Architect) Puerta del Perdón, Toledo Cathedral. c. 1222-1223. Source: University of Chicago Art History Department Image Collection. -
Reading the Theatrical Nebentext in Ben Jonson's Workes As
From directions to descriptions: Reading the theatrical Nebentext in Ben Jonson’s Workes as an authorial outlet David J. Amelang Freie Universität Berlin, Germany ABSTRACT This article explores how certain dramatists in early modern England and in Spain, specifically Ben Jonson and Miguel de Cervantes (with much more emphasis on the former), pursued authority over texts by claiming as their own a new realm which had not been available—or, more accurately, as prominently available—to playwrights before: the stage directions in printed plays. The way both these playwrights and/or their publishers dealt with the transcription of stage directions provides perhaps the clearest example of a theatrical convention translated into the realm of readership. KEYWORDS: William Shakespeare; Ben Jonson; Lope de Vega; Miguel de Cervantes; stage directions. De indicaciones a descripciones: la De indicações a descrições: ler o Neben- lectura del Nebentext teatral en las text teatral em Workes de Ben Jonson Workes de Ben Jonson como expresión como expressão autoral* autorial RESUMEN: Este artículo analiza cómo RESUMO: Este artigo explora de que ciertos dramaturgos en las Inglaterra y forma certos dramaturgos em Inglaterra España del Renacimiento, especialmente e na Espanha do Renascimento, especi- Ben Jonson (y en menor medida tam- ficamente Ben Jonson e Miguel de Cer- bién Miguel de Cervantes), buscaron vantes (com maior ênfase no primeiro), establecer su posición autorial sobre sus procuraram estabelecer uma posição textos de una manera no disponible autoral sobre os seus textos ao reclama- hasta ese momento (o al menos no tan rem para si uma área que anteriormente claramente disponible) para escritores não estava disponível—ou, de forma de teatro: en las acotaciones escénicas de mais correta, não tão claramente dispo- las versiones impresas de sus obras. -
CALLAO, PERU Onboard: 1800 Saturday November 26
Arrive: 0800 Tuesday November 22 CALLAO, PERU Onboard: 1800 Saturday November 26 Brief Overview: A traveler’s paradise, the warm arms of Peru envelope some of the world’s most timeless traditions and greatest ancient treasures! From its immense biodiversity, the breathtaking beauty of the Andes Mountains (the longest in the world!) and the Sacred Valley, to relics of the Incan Empire, like Machu Picchu, and the rich cultural diversity that populates the country today – Peru has an experience for everyone. Located in the Lima Metropolitan Area, the port of Callao is just a stone’s throw away from the dazzling sights and sounds of Peru’s capital and largest city, Lima. With its colorful buildings teeming with colonial architecture and verdant coastline cliffs, this vibrant city makes for a home-away-from-home during your port stay in Peru. Nearby: Explore Lima’s most iconic neighborhoods - Miraflores and Barranco – by foot, bike (PER 104-201 Biking Lima), and even Segway (PER 121-101 Lima by Segway). Be sure to hit up one of the local markets (PER 114-201 Culinary Lima) and try out Peruvian fare – you can’t go wrong with picarones (fried pumpkin dough with anis seeds and honey - pictured above), cuy (guinea pig), or huge ears of roast corn! Worth the travel: Cusco, the former capital of Incan civilization, is a short flight from Lima. From this ancient city, you can access a multitude of Andean wonders. Explore the ruins of the famed Machu Picchu, the city of Ollantaytambo – which still thrives to this day, Lake Titcaca and its many islands, and the culture of the Quechua people. -
Lo Fingido Verdadero1
Javier Rubiera 99 Restitución textual y visualización espacial: dos casos en Lo fingido verdadero1 Javier Rubiera (Université de Montréal) Buena parte de mis estudios teatrales de los últimos quince años tiene como objetivo principal aumentar la competencia interpretativa del lector de teatro del Siglo de Oro, enriqueciendo su sentido de la imaginación espacial. Por eso he insistido (17) en que, una vez que se han observado correctamente las indicaciones escénicas contenidas en las acotaciones y en las didascalias, durante el proceso de la lectura puede apreciarse cómo del texto escrito se despegan, se elevan y toman forma o cuerpo unos actores vestidos de cierto modo, que se mueven y gesticulan en unos espacios determinados y que envueltos en una compleja red de signos desarrollan una acción dramática fundamentalmente conducida por el diálogo. Se prefigura de este modo una puesta en escena que vive en estado latente en el texto escrito y que podrá ser hecha patente de modo físico durante una representación o de modo mental en la lectura. Se puede tratar, entonces, de aprehender imaginativamente ese “espesor de signos y sensaciones que se edifica en la escena a partir del argumento escrito” ―según la famosa cita de R. Barthes (50)―, es decir, la teatralidad contenida ya como germen en la composición de la pieza dramática. El origen de este artículo se encuentra en un seminario de doctorado impartido en la Universidad de Montreal en invierno de 2010: «Cuando el teatro habla del teatro. Leer el teatro español». En aquel seminario, una de las obras clave fue ―como puede fácilmente imaginarse― Lo fingido verdadero, lo que me llevó a una lectura atenta en clase con comentario pormenorizado de la comedia de Lope de Vega, escena por escena. -
Pdf Estructura Social De Los Corrrales De Comedias Madrileños En La
ESTRUCTURA SOCIAL DE LOS CORRALES DE CO MEDIAS MADRILEÑOS EN LA ÉPOCA DE LOPE DE VEGA Un teatro que no se limita a una clase social, sino que alcanza a todas, desde la más alta (el rey incluido) a la más baja, es un fenó meno sociocuítural irrepetible y de capital importancia. Son muchos los estudios que han apoyado o se han basado en la extensión social de nuestro teatro del Siglo de Oro, tomando como puntos de partida el análisis temático, funciones de la comedia, ideales colectivos, etc., pero falta establecer una justificación —apoyada en datos económi cos— de la presencia en el lugar de la representación de miembros de todos los niveles sociales. Dicho en otros términos: deducir compara tivamente de precios y ganancias las posibilidades adquisitivas del he cho teatral en nuestro Siglo de Oro, comparándolo con otras «nece sidades». La estructura social de un corral de comedias prueba esta demo cratización del espectáculo teatral, pero—a la vez—sus marcadas se paraciones, debidas a'una gran e insalvable diferencia de precios, po nen de relieve la rigidez de la estructura social del corral de comedias, adonde sí asisten todos, pero rigurosa y estrictamente separados según el rango y el dinero. El corral de comedias es un reflejo exacto —y cuantificable en dinero—de la estructura social del Madrid de los Austrias; un microcosmos social que refleja a la perfección la inase- quibilidad de los estratos superiores aunque ilusoriamente todos convi van, por dos horas, en un mismo lugar participando de un espectáculo común (por otra parte no tan común en cuanto que hay significados que se estructuran en la obra dirigidos exclusivamente a un sector del público). -
Studies in American Indian Literatures Editors James H
volume 23 . number 1 . spring 2011 Studies in American Indian Literatures editors james h. cox, University of Texas at Austin daniel heath justice, University of Toronto Published by the University of Nebraska Press The editors thank the Centre for Aboriginal Initiatives at the University of Toronto and the College of Liberal Arts and the Department of English at the University of Texas for their financial support. subscriptions Studies in American Indian Literatures (SAIL ISSN 0730-3238) is the only scholarly journal in the United States that focuses exclusively on American Indian literatures. SAIL is published quarterly by the University of Nebras- ka Press for the Association for the Study of American Indian Literatures (ASAIL). Subscription rates are $40 for individuals and $99 for institutions. Single issues are available for $23. For subscriptions outside the United States, please add $30. Canadian subscribers please add appropriate GST or HST. Residents of Nebraska, please add the appropriate Nebraska sales tax. To subscribe, please contact the University of Nebraska Press. Payment must accompany order. Make checks payable to the University of Nebraska Press and mail to The University of Nebraska Press 1111 Lincoln Mall Lincoln, NE 68588-0630 Phone: 402-472-8536 Website: http://www.nebraskapress.unl.edu All inquiries on subscription, change of address, advertising, and other busi- ness communications should be addressed to the University of Nebraska Press at 1111 Lincoln Mall, Lincoln, NE 68588-0630. A subscription to SAIL is a benefit of membership in ASAIL. For mem- bership information please contact Jeff Berglund PO Box 6032 Department of English Northern Arizona University Flagstaff, AZ 86011-6032 Phone: 928-523-9237 E-mail: [email protected] submissions The editorial board of SAIL invites the submission of scholarly manuscripts focused on all aspects of American Indian literatures as well as the submis- sion of poetry and short fiction, bibliographical essays, review essays, and interviews.