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Finn offers socio-historical as well as textual analyses to trace the comedia's influence on Moliere's concept of identity. Through an in-depth study of specific works and general trends, he shows how Moliere reworked and reinvigorated the Spanish process of identity construction and distribution.
Born Jean-Baptiste Poquelin in 1622, the French playwright Moli^D`ere became one of the most influential dramatists of the 17th century. His comedies shaped the development of theater in Europe, inspired his contemporaries in England, and left a lasting dramatic legacy after his death in 1673. Moli^D`re has also inspired a vast body of scholarship, and recent work has dispelled many of the myths surrounding his career. This reference provides English-speaking readers with a current and comprehensive guide to his life and works. Hundreds of A-Z entries cover topics related to his life, works, and theatrical career, including: Plays; Individual characters; Historical persons; Allusions; Influences; Cultural institutions; And much more. This scrupulously researched volume relies on verifiable facts, giving scant attention to the romantic fiction surrounding the playwright. Many of the entries list works for further reading. A chronology outlines the chief events of Moli^D`re's life and his contributions to the stage. The volume concludes with a bibliography.
DaSilva draws together key essays dealing with the span of Spanish and Latin American arts, ranging from literature, music, film, and ballet to painting. Scholars and researchers involved with the scope of Spanish and Spanish American arts will find this collection of particular value. The selections center on basic themes including the icons of Spain, the use of characters from classic Spanish literature in performing and visual arts, romantic and modern Spanish writers and their influences, and the fusion of Mexican and Spanish culture. The selections center on ten basic themes: The early icons of Spain; the uses of Don Quixote from operas to painting; Don Juan is given a similar treatment, with theater, film, and ballet in addition to literature and opera; an examination of areas of fusion of Spanish and Mexican culture; Spanish Romantics in opera and ballet; modern writers whose work appears in musical transcription; modern writers whose novels appear in film; an examination of works that parody earlier pieces; a survey of the interrelationship between painting and its literary sources; and a look at the variegated artistic peregrinations of such contemporaries as Marquez, Puig, Skarmeta, and others. Scholars and researchers involved with the scope of Spanish and Spanish American arts will find this collection of particular value.
The first book-length study devoted to this topic, Mendacity and the Figure of the Liar in Seventeenth-Century French Comedy offers an important contribution to scholarship on the theatre as well as on early modern attitudes in France, specifically on the subject of lying and deception. Unusually for a scholarly work on seventeenth-century theatre, it is particularly alert to plays as performed pieces and not simply printed texts. The study also distinguishes itself by offering original readings of Molière alongside innovative analyses of other playwrights. The chapters offer fresh insights on well-known plays by Molière and Pierre Corneille but also invite readers to discover lesser-known works of the time (by writers such as Benserade, Thomas Corneille, Dufresny and Rotrou). Through comparative and sustained close readings, including a linguistic and speech act approach, a historical survey of texts with an analysis of different versions and a study of irony, the reader is shown the manifest ways in which different playwrights incorporate the comedic tropes of lying and scheming, confusion and unmasking. Drawing particular attention to the levels of communicative or mis-communicative exchanges on the character-to-character axis and the character-to-audience axis, this work examines the process whereby characters in the comedies construct narratives designed to trick, misdirect, dazzle, confuse or exploit their interlocutors. In the different incarnations of seducer, parasite, cross-dresser, duplicitous narrator/messenger and deluded mythomaniac, the author underscores the way in which the figure of the liar both entertains and troubles, making it a fascinating subject worthy of detailed investigation.
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. Marta's false religiosity becomes a cover for sneaking her boyfriend into her house and, to all intents and purposes, having a sexual relationship with him without her credulous father suspecting a thing. The stakes involved in this risky gambit are particularly high because her boyfriend, Felipe, is also the man who has killed her brother. In this fast-moving play that celebrates the victory of youth over age, of love over revenge, little is held sacred, as circumstances spiral to the point of outrageousness. Not surprisingly, Marta has been a controversial play over the years, condemned for immorality and salaciousness by some, championed as an anticlerical tract by others. Readers and audience members over the years have puzzled as to what Tirso wants us to make of the title character and her behaviour. Is she a cautionary example, a sly hypocrite, whom we are to hold at a critical distance? Or she is a sympathetic comic heroine, even a proto-feminist, whose cause we are to embrace? No matter one's perspective, Marta is memorable because of the audaciousness and resourcefulness of the title character. Marta is a great stage creation, and the plot Tirso builds around this trickster has the feel of the archetypal, transcending the time and place of its creation. At the same time, Marta is a surprisingly comprehensive satire of the Spanish empire of its day. Through a variety of subtle touches, Tirso paints a picture of an imperial capital plagued by avarice and hypocrisy. The play has some puzzling elements or 'problems' from a technical point of view, but the irresistible force of its comic energy has appealed to readers and audiences for nearly 400 years. This edition presents the play for the first time ever in English translation. The translation is accompanied by the Spanish text, translators' note and a substantial introduction.
Staging Subversions: The Performance-within-a-Play in French Classical Theater defines a new type of metadrama using Le Tartuffe as its paradigm and explores the complex, ambiguous, and enlightening relationships that metadrama maintains with the social and political orders. While metadramatic scenes are most often concerned with theater itself, the performance-within-a-play adopts an important function in the play's plot, and, consequently, in the social world of the play. The performance-within-a-play is particularly associated by the classical playwrights with the family structure, with the class system, with women's social roles, and with the politics of absolutism.