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Tirso de Molina's Marta the Divine (c. 1614-15) is a spirited comedy about an ingenious young woman who fakes religious piety in order to avoid an arranged marriage imposed upon her by her father.
Tirso de Molina's Jealous of Herself (c. 1622-23) is an ingenious comedy of disguise and deception, set in the streets, plazas and fashionable apartments of early 17th-century Madrid.
The story comes from the Second Book of Samuel and tells of the incestuous passion of Amnon, David's eldest son, for his half-sister, Tamar and the subsequent murder of Amnon by his brother Absolom. Amnon's lust is set in the context of complementary passions of ambition and revenge, reflected in Absolom and Tamar respectively. The play explores King David's conflict between justice and mercy when confronted with these tragic events. It is a work of constantly changing perspectives in which tragedy and comedy, instead of being simply juxtaposed, are blended in a highly original way. Tirso's play is one of the earliest treatments of a theme that has continued to be an inspiration for such modern writers as the novelist Dan Jacobson in The Rape of Tamar and the dramatist Peter Shaffer in Jonadab . Spanish text with facing-page translation, commentary and notes.
Tirso de Molina enjoys enduring popularity as a writer of irreverent comedies, though his critical reputation as a major dramatist rests largely on his more serious works.
This is the first book to examine the rise of Spain's extraordinary national theatre in the sixteenth and seventeenth centuries in all its aspects - the commercial theatre, the court drama and the Corpus autos, the organisation of theatrical life, the playhouses themselves and their public, the literary and moral controversies, and the plays as literary texts. The book has been written for students of drama as well as Hispanists: Spanish theatre is set in its national and international context; Spanish titles and theatrical terms are translated. Considerable space has been devoted to the experimental drama of the sixteenth century before Lope de Vega. At the core of the book is a highly distinctive, successful national theatre which mirrored the energies, beliefs and anxieties of a great nation in crisis, yet at the same time granted full expression to the individual genius of its greatest exponents - Lope de Vega, Tirso de Molina and Calderon de la Barca.
The essays in this collection provide new material to enable the continuing recuperation of the complex social ambiance that both created and was reflected in the literature of Spain's Golden Age.
This book examines the institutional contexts of dramaturgical practices in the changing political landscape of 20th century Germany. Through wide-ranging case studies, it discusses the way in which operationalised modes of action, legal frameworks and an established profession have shaped dramaturgical practice and thus links to current debates around the “institutional turn” in theatre and performance studies. German theatre represents a rich and well-chosen field as it is here where the role of the dramaturg was first created and where dramaturgy played a significantly politicised role in the changing political systems of the 20th century. The volume represents an important addition to a growing field of work on dramaturgy by contributing to a historical contextualisation of current practice. In doing so, it understands dramaturgy not only as a process which occurs in rehearsal rooms and writers’ studies, but one that has far wider institutional and political implications.