Pub Date : 2022-07-27DOI: 10.14198/raei.2022.37.04
Masa Kmet
American dramatists arrived in the Spanish theaters rather late, in the 1950s. In the beginning they were generally represented by non-professional theater groups (exemplified here by Dido Pequeño Teatro) that aimed to challenge the obsolete plays produced on the mainstream stages during Franco’s dictatorship (1939-1975). Thanks to these companies that were an alternative to the commercial theaters, Spanish audiences gradually discovered many contemporary playwrights whose plays were being staged in the rest of Europe at the time. This article focuses on three American authors who were the first significant ones to be staged in Spain: Eugene O’Neill, Tennessee Williams and the American-born T.S. Eliot, and were chosen by Dido Pequeño Teatro. This paper briefly presents the three authors and their theater, together with their success in the United States, in order to then concentrate on their first appearance in Spain. We highlight four plays that were produced by one of the most significant Spanish non-professional groups of that era, Dido Pequeño Teatro. The article then takes a closer look at how the plays were received by the critics and the general audience and analyze their success.
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Pub Date : 2022-07-27DOI: 10.14198/raei.2022.37.02
Simon Breden
The Fundación Siglo de Oro –formerly Compañía Rakatá– has been staging Spanish Golden Age and Elizabethan theatre since it was founded in 2006. Over this time, the company has developed an identity associated not only with its staging of early modern drama, but also with the influence of a series of contemporary British theatre practitioners on its rehearsal process. Perhaps one of the most noteworthy constants in its work is a fruitful series of collaborations with British stage directors, beginning in 2007 with Laurence Boswell directing El perro del hortelano (revived in 2014), in 2009 Fuenteovejuna, and in 2015 co-directing Mujeres y criados with company founder and producer Rodrigo Arribas. While, at first, we can ascribe this collaboration to the impact of the Royal Shakespeare Company Golden Age season, curated by Boswell, which visited Madrid’s emblematic Teatro Español in 2004, the company have continued to seek out British directors including Tim Hoare on Don Juan en Alcalá (2016) and Trabajos de amor perdidos (2016), and most recently Dominic Dromgoole on a new production of El perro del hortelano (2021). This latter partnership is also the culmination of a collaboration with Shakespeare’s Globe Theatre which saw the company take part in the Cultural Olympiad with Enrique VIII (2012) and become the first company to perform Lope de Vega in Spanish at the London theatre, with El castigo sin venganza (2014). There has therefore been a clear exchange of ideas between Spanish classical theatre and contemporary British theatre practice. This article proposes to explore the methodological contributions of British directors to better understand how this has altered the in-rehearsal perspectives on the Spanish Golden Age to explain the benefits of this Anglo-Hispanic collaborative approach to the company’s work. This will be supported by an interview with Rodrigo Arribas, whose constant presence as founder, producer, actor and most recently as director can help us to understand the contributions made by Boswell, Hoare and Dromgoole to the company’s rehearsal methodology.
Siglo de Oro基金会（前身为Compañía Rakatá）自2006年成立以来，一直在上演西班牙黄金时代和伊丽莎白时代的戏剧。在这段时间里，该公司发展了一种身份，这种身份不仅与早期现代戏剧的上演有关，还与一系列当代英国戏剧从业者对其排练过程的影响有关。也许其作品中最值得注意的常数之一是与英国舞台导演的一系列富有成效的合作，从2007年劳伦斯·博斯韦尔执导的《El perro del hortelano》（2014年复活）开始，到2009年的《Fuentovejuna》，再到2015年与公司创始人兼制片人罗德里戈·阿里巴斯共同执导的《Mujeres y criados》。起初，我们可以将这种合作归因于由博斯韦尔策划的皇家莎士比亚剧团黄金时代季的影响，该季于2004年参观了马德里具有象征意义的西班牙剧院，但该公司一直在寻找英国导演，包括蒂姆·霍尔（Tim Hoare）的《唐·阿尔卡拉》（Don Juan en Alcalá，2016）和特拉巴霍斯·德·阿摩尔·佩尔迪多斯（Trabajos de amor perdidos，2016），最近，Dominic Dromgoole在《El perro del hortelano》的新作品中（2021）。后一种合作也是与莎士比亚环球剧院合作的高潮，该公司与恩里克八世（2012年）一起参加了文化奥林匹克运动会，并与El castigo sin venganza（2014年）一起成为第一家在伦敦剧院用西班牙语表演Lope de Vega的公司。因此，西班牙古典戏剧和当代英国戏剧实践之间有着明确的思想交流。本文建议探讨英国导演在方法上的贡献，以更好地理解这是如何改变对西班牙黄金时代的预演视角的，从而解释这种英西合作方式对公司工作的好处。罗德里戈·阿里巴斯（Rodrigo Arribas）的采访将支持这一点，他作为创始人、制片人、演员以及最近的导演不断出现，可以帮助我们了解Boswell、Hoare和Dromgoole对公司排练方法的贡献。
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Pub Date : 2022-07-27DOI: 10.14198/raei.2022.37.06
V. Rodríguez, Isabel Guerrero Llorente, David Rodríguez-Solás
Theatre and Performance Practices on the Spanish Stage: An Introduction.
西班牙舞台上的戏剧和表演实践：导论。
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Pub Date : 2022-07-27DOI: 10.14198/raei.2022.37.03
M. Mateo
This article focuses on Andrew Lloyd Webber’s musical Sunset Boulevard (1993), in order to present some relevant aspects of the production and reception of musicals both in an original and a target context. The study will first describe the eventful creative process of this musical text in its Anglophone source contexts, and will then move on to examine it from the perspective of its performance in Spanish translation. Recently translated for a Spanish-language production staged in Tenerife in 2017 (soon followed by another one in Argentina in 2018), Sunset Boulevard is a good example of the powerful impact that the importation of Anglo-American musicals has had in Spain in recent decades (see Mateo 2008) while it also serves to illustrate interesting aspects of the evolution and current situation of musicals’ production in this country. This macro-level study will therefore examine Lloyd Webber’s musical performed in sung translation, addressing it from a contextual standpoint and with a focus in Spain, with the aim of contributing to a deeper knowledge of theatre translation when it involves musical plays.
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Pub Date : 2022-07-27DOI: 10.14198/raei.2022.37.01
Ramón Espejo
This article traces the itinerary followed by the earliest Broadway musicals to be imported to Madrid in the 1950s and 1960s. Such innovative format dazzled critics and audiences, carving out a niche of enthusiastic followers that would grow larger over time. The handful of works borrowed in this period will receive attention, especially insofar as their reception is concerned. The final phase of the Francoist dictatorship brought an increased visibility to the form, as heated controversy surrounded the eventual importation and prohibition of titles such as Hair and Jesus Christ Superstar. In the case of the former, shows purporting to bring to Spaniards what the authorities had banned will be briefly discussed. The latter will receive closer attention. Both these plays will serve as privileged viewing platforms whence the tensions inherent to a moribund regime and its outdated cultural policies will become obvious.
{"title":"Spain’s Francoist Broadway: American musicals in Madrid, 1955-1975","authors":"Ramón Espejo","doi":"10.14198/raei.2022.37.01","DOIUrl":"https://doi.org/10.14198/raei.2022.37.01","url":null,"abstract":"This article traces the itinerary followed by the earliest Broadway musicals to be imported to Madrid in the 1950s and 1960s. Such innovative format dazzled critics and audiences, carving out a niche of enthusiastic followers that would grow larger over time. The handful of works borrowed in this period will receive attention, especially insofar as their reception is concerned. The final phase of the Francoist dictatorship brought an increased visibility to the form, as heated controversy surrounded the eventual importation and prohibition of titles such as Hair and Jesus Christ Superstar. In the case of the former, shows purporting to bring to Spaniards what the authorities had banned will be briefly discussed. The latter will receive closer attention. Both these plays will serve as privileged viewing platforms whence the tensions inherent to a moribund regime and its outdated cultural policies will become obvious.","PeriodicalId":33428,"journal":{"name":"Revista Alicantina de Estudios Ingleses","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47543632","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 : 2022-01-31DOI: 10.14198/raei.2022.36.07
Meyre Santana Da Silva
African routes to modernities have been marked by internal fissures and ambivalences that affect social life and political and economic structures in several ways. In the novel Changes: A Love Story, the Ghanaian writer Ama Ata Aidoo deals with the inconsistencies of modernities, asking whether global capitalism promotes gender equity or mainly contributes to social stratification, generating more complex hierarchies. This essay examines how Aidoo’s narrative utilizes women’s sexuality as an allegory to provide a vehement critique of colonial and post-independence policies, abusive indigenous practices, male privilege and corruption while shedding some light on women’s condition in modern urban Accra.
非洲走向现代化的道路上存在着内部分歧和矛盾，这些分歧和矛盾在几个方面影响着社会生活以及政治和经济结构。在小说《变化：爱情故事》中，加纳作家阿马·阿塔·艾杜（Ama Ata Aidoo）探讨了现代化的不一致性，询问全球资本主义是促进性别公平，还是主要促进社会分层，从而产生更复杂的等级制度。本文探讨了Aidoo的叙事如何利用女性的性取向作为寓言，对殖民地和独立后的政策、虐待土著的做法、男性特权和腐败进行了激烈的批判，同时也揭示了阿克拉现代城市中的女性状况。
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Pub Date : 2022-01-31DOI: 10.14198/raei.2022.36.08
M. Sanz Jiménez
The objective of this paper is to study the Spanish translation of Yaa Gyasi’s Homegoing (2016), a novel that adopts the form of a neo-slave narrative to chronicle a black family’s history from eighteenth-century Ghana to the early twenty-first century in the United States. The contexts in which both the source and target text were published will be described, paying attention to paratexts, to the book’s reception, and to the translation’s positive reviews. Gyasi’s debut oeuvre depicts alterity and the non-standard linguistic varieties, such as Black English, spoken by the dispossessed Other. This paper examines the strategies that the translator, Maia Figueroa (2017), has made use of to render this interplay of voices into Spanish. In addition, it considers how her choice to standardize some fragments and to introduce marked non-standard language in certain passages affects the reflection of the narrative Us vs. Otherness in the target text.
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Pub Date : 2022-01-31DOI: 10.14198/raei.2022.36.04
José Manuel Correoso Rodenas
Dealing with the sources authors have historically had for the composition of their pieces is not always an easy task, especially if we considered writers like Edgar Allan Poe, who was an extensive reader. In the particular case of “The Unparalleled Adventure of One Hans Pfaall” even more issues should be brought to the debate, for this short story constitutes an early attempt of Poe towards the creation of (satiric) science-fiction. In consequence, the reference to scientific and pseudo-scientific texts needs to be constant. However, the aim of this article is not the discussion of these (for they have already been studies, as shown below) but the inclusion of a new source, Hugh Henry Brackenridge’s Modern Chivalry, which has been overshadowed to the present day and which offers a new, enhancing vision of Poe’s narration. By doing this, it is also the aim of this article to offer a reevaluation of “Hans Pfaall” through the lens of American-ness, a topic already widely discussed in reference to Poe and which has been proven as being among the most influential the Bostonian acquired during his career.
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Pub Date : 2022-01-31DOI: 10.14198/raei.2022.36.02
Lílian Aparecida Vimieiro Pascoal, Andréa Machado de Almeida Mattos
Critical Literacy (CL) has lately influenced English Language Teaching (ELT) in Brazil, mainly after the publication of the National Guidelines for High School Teaching, and several practitioners have started to use CL perspectives in their ELT contexts. Besides, CL and Critical Language Education have been the focus of much research in Brazil. Nonetheless, these alternative approaches have not yet made their way into testing and assessment. This paper focuses on the relationship of CL and English Language testing. First, we present an overview of important concepts in the area of testing and assessment in ELT. We also discuss important concepts of CL and other critical approaches to ELT. Then, we briefly discuss the possibility of using CL together with CA in English teaching. To illustrate, we summarize a course in ELT, which has used CL and CA at university level. Finally, considering tests as part of the social practices in educational contexts, we demonstrate that, just as CL may be used for Citizenship Education and Social Justice in English classes, the same approach should be used when testing, particularly due to the use of language as a tool for social reconstruction and critique for the exposure of inequalities. Principles for developing critical practices in testing and assessment are discussed along the paper.
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Pub Date : 2022-01-31DOI: 10.14198/raei.2022.36.05
Lucía Fraga Viñas
The learning of English as a Foreign Language (EFL) is clearly a primary concern worldwide these days. This has spurred a proliferation of studies related to it and the emergence of new methodologies and instruments of assessment. Along with these, new qualifications devoted to the certification of language competence have been created, triggered in no small part by the fact that demonstrating one’s level of proficiency has become almost an imperative when applying for a job or a grant, or to enable someone to study in a foreign country. It is therefore essential to test the reliability of the instruments used for the assessment of competences. With this purpose, over a four-week period, four different evaluators have assessed the written essays of students on a C1 level course using the writing rubrics for Cambridge Assessment English’s Cambridge Advance English Certificate (CAE) and Trinity College’s Integrated Skills in English Exams III (ISE-III). The aim was to examine the CAE and the ISE-III rubrics’ reliability through the calculation of their respective Cronbach’s alpha, the Corrected-Item Total correlation, the Intra-class Correlation Coefficient and the Standard Error of Measurement. Afterwards, the results given to each essay on the basis of the two rubrics were compared so to ascertain whether their language is clear and which criteria tended to obtain higher and lower marks on average. Examiners were also surveyed at the end of the assessment process to find their opinion on the use of the two rubrics in terms of clarity. The research provided meaningful and interesting results such as the fact that although both rubrics obtained good results in the coefficients of reliability, the variance in scores is greater when using the ISE-III rubric and that examiners tend to be tougher when assessing the learner’s language resource than any other criterion. It is also worth pointing out that according to the survey, examiners’ general perception of both rubrics is that some of their descriptors were confusing or vague, which suggests both rubrics should be revised and could benefit from some improvement.
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