Pub Date : 2023-03-01DOI: 10.5325/comeperf.20.1.0210
{"title":"Reimaginando a Lope para el siglo XXI: Conversación con Ignacio Amestoy y Ainhoa Amestoy","authors":"","doi":"10.5325/comeperf.20.1.0210","DOIUrl":"https://doi.org/10.5325/comeperf.20.1.0210","url":null,"abstract":"","PeriodicalId":29823,"journal":{"name":"Comedia Performance","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48002237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.5325/comeperf.20.1.0189
{"title":"Lope de Vega. Lo fingido verdadero","authors":"","doi":"10.5325/comeperf.20.1.0189","DOIUrl":"https://doi.org/10.5325/comeperf.20.1.0189","url":null,"abstract":"","PeriodicalId":29823,"journal":{"name":"Comedia Performance","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43524152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.5325/comeperf.20.1.0168
Victoria Jane Rasbridge
{"title":"Lope de Vega. Fuenteovejuna (1612)","authors":"Victoria Jane Rasbridge","doi":"10.5325/comeperf.20.1.0168","DOIUrl":"https://doi.org/10.5325/comeperf.20.1.0168","url":null,"abstract":"","PeriodicalId":29823,"journal":{"name":"Comedia Performance","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46554292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.5325/comeperf.20.1.0244
A. Lauer
{"title":"García de la Rasilla, Carmen, and Jorge Abril Sánchez, eds. Immature Playboys & Predatory Tricksters: Studies in the Sources, Scope and Reach of Don Juan","authors":"A. Lauer","doi":"10.5325/comeperf.20.1.0244","DOIUrl":"https://doi.org/10.5325/comeperf.20.1.0244","url":null,"abstract":"","PeriodicalId":29823,"journal":{"name":"Comedia Performance","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42115264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.5325/comeperf.20.1.0173
{"title":"Estreno absoluto: Concert Version of Felipe Pedrell’s La Celestina (1902) in Madrid’s Teatro de la Zarzuela (2022)","authors":"","doi":"10.5325/comeperf.20.1.0173","DOIUrl":"https://doi.org/10.5325/comeperf.20.1.0173","url":null,"abstract":"","PeriodicalId":29823,"journal":{"name":"Comedia Performance","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44932139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.5325/comeperf.20.1.0102
Rhonda Sharrah, Laura Muñoz
This article chronicles the experience of planning a virtual theater festival during the first stage of the COVID-19 pandemic in 2020. UCLA’s Diversifying the Classics had to pivot from planning for an in-person LA Escena Festival of Hispanic classical theater to an online version, which brought challenges but also exciting new opportunities. The team of professors and graduate students brought their experience from planning an in-person festival in 2018, and they quickly began to learn new skills required for the technical and logistical challenges of the virtual festival. Collaboration was key for their success, and the new format opened up avenues for closer engagement with performers from a wider geographical range. Questions and opportunities remain for theater projects exploring virtual forms, even after the pandemic. The chronicle reflects on how LA Escena 2020 came together and considers best practices for future artistic collaborations in virtual theater.
{"title":"Entering a New Stage: Reflections on Virtual Theater and Public Humanities Practice","authors":"Rhonda Sharrah, Laura Muñoz","doi":"10.5325/comeperf.20.1.0102","DOIUrl":"https://doi.org/10.5325/comeperf.20.1.0102","url":null,"abstract":"\u0000 This article chronicles the experience of planning a virtual theater festival during the first stage of the COVID-19 pandemic in 2020. UCLA’s Diversifying the Classics had to pivot from planning for an in-person LA Escena Festival of Hispanic classical theater to an online version, which brought challenges but also exciting new opportunities. The team of professors and graduate students brought their experience from planning an in-person festival in 2018, and they quickly began to learn new skills required for the technical and logistical challenges of the virtual festival. Collaboration was key for their success, and the new format opened up avenues for closer engagement with performers from a wider geographical range. Questions and opportunities remain for theater projects exploring virtual forms, even after the pandemic. The chronicle reflects on how LA Escena 2020 came together and considers best practices for future artistic collaborations in virtual theater.","PeriodicalId":29823,"journal":{"name":"Comedia Performance","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41849470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.5325/comeperf.20.1.0161
Victoria Jane Rasbridge
{"title":"Mirar a los mirones. Adaptation of Los mirones (1617) attributed to Miguel de Cervantes. Adaptation, Carlota Gaviño","authors":"Victoria Jane Rasbridge","doi":"10.5325/comeperf.20.1.0161","DOIUrl":"https://doi.org/10.5325/comeperf.20.1.0161","url":null,"abstract":"","PeriodicalId":29823,"journal":{"name":"Comedia Performance","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44862991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.5325/comeperf.20.1.0023
R. Miñana
Stage adaptations of Don Quixote, Miguel de Cervantes’ masterpiece, abound since shortly after its publication in 1605. In the twenty-first century, Don Quixote takes the stage throughout the Americas not only as a literary classic but also as an icon of neighborhood-level activism. Combining the two main traditional readings of the novel, the romantic and the satirical, a third performative interpretation of Don Quixote has emerged across the American continent out of community- based initiatives that adapt the classic for underprivileged communities with a message of social betterment and hope. This article focuses on two such initiatives, Touchstone Theater’s Don Quixote of Bethlehem (Bethlehem, PA) and Stephen Haff’s Kid Quixote project in Brooklyn, New York. I will examine how Cervantes’ hero acts in these two activist projects as a conscious performer in pursuit of personal and collective transformation within the specific socio-economic, political, and cultural parameters of the barrio.
{"title":"Performing Don Quixote in the Barrio: The Kid Quixote Project (Brooklyn, NY) and Don Quixote of Bethlehem (Bethlehem, PA)","authors":"R. Miñana","doi":"10.5325/comeperf.20.1.0023","DOIUrl":"https://doi.org/10.5325/comeperf.20.1.0023","url":null,"abstract":"\u0000 Stage adaptations of Don Quixote, Miguel de Cervantes’ masterpiece, abound since shortly after its publication in 1605. In the twenty-first century, Don Quixote takes the stage throughout the Americas not only as a literary classic but also as an icon of neighborhood-level activism. Combining the two main traditional readings of the novel, the romantic and the satirical, a third performative interpretation of Don Quixote has emerged across the American continent out of community- based initiatives that adapt the classic for underprivileged communities with a message of social betterment and hope. This article focuses on two such initiatives, Touchstone Theater’s Don Quixote of Bethlehem (Bethlehem, PA) and Stephen Haff’s Kid Quixote project in Brooklyn, New York. I will examine how Cervantes’ hero acts in these two activist projects as a conscious performer in pursuit of personal and collective transformation within the specific socio-economic, political, and cultural parameters of the barrio.","PeriodicalId":29823,"journal":{"name":"Comedia Performance","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46187222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.5325/comeperf.20.1.0004
A. Lauer
This paper explores some of the reasons why Lope de Vega’s La discreta enamorada (LDE) has been problematic for critics, actors, and stage directors. It utilizes an actantial model, based partially on those of Souriau, Greimas, and Todorov, to explain LDE’s various actants and dramatic functions. It also studies sundry mises-en-scène of LDE at the USA Chamizal National Memorial, the Almagro Corral de Comedias, the New York Repertorio Español, and, as the zarzuela Doña Francisquita, the Théâtre du Capitole de Toulouse. LDE, although farcical, should be read and staged as a “middle” Lopean comedy: between Plautine jocularity and Terentian sobriety.
本文探讨了洛佩·德·维加的《爱的离散》（LDE）对评论家、演员和舞台导演产生问题的一些原因。它利用一个部分基于索里奥、格里玛斯和托多罗夫的行为模型来解释LDE的各种行为和戏剧功能。它还研究了美国查米扎尔国家纪念馆、Almagro Corral de Comedias、纽约Español Repertorio以及图卢兹卡皮托勒剧院（Théâtre du Capitole de Toulouse）的各种LDE场景。LDE，虽然滑稽，但应该被解读和上演为一部“中间”的洛佩恩喜剧：介于朴实无华的诙谐和特伦特的清醒之间。
{"title":"‘Nothing Succeeds like Excess’ in Lope de Vega’s La discreta enamorada","authors":"A. Lauer","doi":"10.5325/comeperf.20.1.0004","DOIUrl":"https://doi.org/10.5325/comeperf.20.1.0004","url":null,"abstract":"\u0000 This paper explores some of the reasons why Lope de Vega’s La discreta enamorada (LDE) has been problematic for critics, actors, and stage directors. It utilizes an actantial model, based partially on those of Souriau, Greimas, and Todorov, to explain LDE’s various actants and dramatic functions. It also studies sundry mises-en-scène of LDE at the USA Chamizal National Memorial, the Almagro Corral de Comedias, the New York Repertorio Español, and, as the zarzuela Doña Francisquita, the Théâtre du Capitole de Toulouse. LDE, although farcical, should be read and staged as a “middle” Lopean comedy: between Plautine jocularity and Terentian sobriety.","PeriodicalId":29823,"journal":{"name":"Comedia Performance","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42172754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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