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Spain's Golden Age, the seventeenth century, left the world one great legacy, the flower of its dramatic genius—the comedia. The work of the Golden Age playwrights represents the largest combined body of dramatic literature from a single historical period, comparable in magnitude to classical tragedy and comedy, to Elizabethan drama, and to French neoclassical theater. A History of Spanish Golden Age Drama is the first up-to-date survey of the history of the comedia, with special emphasis on critical approaches developed during the past ten years. A history of the comedia necessarily focuses on the work of Lope de Vega and Calderon de la Barca, but Ziomek also gives full credit to the host of lesser dramatists who followed in the paths blazed by Lope and Calderon, and whose individual contributions to particular genres added to the richness of Spanish theater. He also examines the profound influence of the comedia on the literature of other cultures.
Vince has provided a useful and, for the most part, usable reference work. His introduction should be required reading for anyone approaching medieval theater. Choice Scholars increasingly see medieval theatre as a complex and vital performance medium related more closely to political, religious, and social life than to literature as we know it. Reflecting the current interest in performance, A Companion to the Medieval Theatre presents 250 alphabetically arranged entries offering a panoramic view of European and British theatrical productions between the years 900 and 1550. The volume features 30 essays contributed by an international group of specialists and includes many shorter entries as well as systematic cross-referencing, a chronology, a bibliography, and a full complement of indexes. Major entries focus on the theatres of the principal linguistic areas (the British Isles, France, Germany, Iberia, Italy, Scandinavia, the Low Countries, and Eastern Europe), and on dramatic forms and genres such as liturgical drama, Passion and saint plays, morality plays, folk drama, and Humanist drama. Other articles examine costume, acting, pageantry, and music, and explore the theatrical dimension of courtly entertainment, the dance, and the tournament. Short entries supply information on over one hundred playwrights, directors, actors and antiquarians whose contributions to the theatre have been documented. This informative guide brings new depth to our appreciation of the richness and color of medieval public entertainments and the symbolism and pageantry that were a part of daily life in the Middle Ages. Designed to appeal to general reader, this volume is also an attractive choice for libraries serving students and scholars of theatre history, English and European literatures, medieval history, cultural history, drama, and performance.
This book examines the life of Maria Duran, who was born with female genitalia, but was accused of being a man and subsequently put on trial for sorcery by the Portuguese Inquisition during the 18th century. François Soyer uses Maria's story to open a window onto the world of the experience of 'transing' gender, as well as the gendered attitudes and responses to the transgression of gendered norms that were adopted by churchmen, medical practitioners and ordinary lay men and women. Drawing on the surviving (and staggeringly 736-page long) sorcery trial dossier, Soyer analyses the secretive life of an individual who actively and deliberately 'transed' gender. The dossier analysis enables insights into aspects of life so rarely recorded in early modern documents: the transgression of gender norms, transgressive sexuality and sexual violence in female religious institutions, in addition to the fears and debates about the power that the Devil could wield over the human body. The 'Catalan Hermaphrodite' and the Inquisition also reveals how the Inquisition gathered a number of doctors, surgeons and midwives to conduct careful examinations of Maria's body in general and genitals in particular. Their reports and the discussions of the inquisitors are discussed by Soyer and offer further fascinating evidence of attitudes towards sex and gender in early modern Europe.
Subject Stages argues that the discourses and practices of marital legislation, litigation, and theatrics informed each other in early modern Spain in ways that still have a critical bearing on contemporary events in Spain, such as the legalization of divorce in 1978 and of same-sex marriage in 2005.