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Reimaginando a Lope para el siglo XXI: Conversación con Ignacio Amestoy y Ainhoa Amestoy 重新想象21世纪的洛普：与伊格纳西奥·阿梅斯托和艾因霍亚·阿梅斯托的对话
IF 0.4
Comedia Performance Pub Date : 2023-03-01 DOI: 10.5325/comeperf.20.1.0210
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引用次数: 1
Lope de Vega. Lo fingido verdadero 洛普·德·维加。假装是真的
IF 0.4
Comedia Performance Pub Date : 2023-03-01 DOI: 10.5325/comeperf.20.1.0189
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引用次数: 0
Andantes con Cervantes 塞万提斯
IF 0.4
Comedia Performance Pub Date : 2023-03-01 DOI: 10.5325/comeperf.20.1.0154
Harrison Meadows
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引用次数: 0
Lope de Vega. Fuenteovejuna (1612) Lope de Vega。富恩特奥韦朱纳（1612）
IF 0.4
Comedia Performance Pub Date : 2023-03-01 DOI: 10.5325/comeperf.20.1.0168
Victoria Jane Rasbridge
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引用次数: 0
García de la Rasilla, Carmen, and Jorge Abril Sánchez, eds. Immature Playboys & Predatory Tricksters: Studies in the Sources, Scope and Reach of Don Juan García de la Rasilla, Carmen和Jorge Abril Sánchez主编。不成熟的花花公子和掠夺性的骗子:《唐璜》的来源、范围和影响研究
IF 0.4
Comedia Performance Pub Date : 2023-03-01 DOI: 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}
引用次数: 0
Estreno absoluto: Concert Version of Felipe Pedrell’s La Celestina (1902) in Madrid’s Teatro de la Zarzuela (2022) 绝对首映：费利佩·佩德雷尔的《塞莱斯蒂娜》（1902年）在马德里扎苏埃拉剧院的音乐会版本（2022年）
IF 0.4
Comedia Performance Pub Date : 2023-03-01 DOI: 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}
引用次数: 0
Entering a New Stage: Reflections on Virtual Theater and Public Humanities Practice 进入新阶段：虚拟剧场与公共人文实践的思考
IF 0.4
Comedia Performance Pub Date : 2023-03-01 DOI: 10.5325/comeperf.20.1.0102
Rhonda Sharrah, Laura Muñoz
{"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}
引用次数: 0
Mirar a los mirones. Adaptation of Los mirones (1617) attributed to Miguel de Cervantes. Adaptation, Carlota Gaviño 看着窥视者。米格尔·德·塞万提斯的《偷窥狂的改编》（1617年）。海鸥卡洛塔
IF 0.4
Comedia Performance Pub Date : 2023-03-01 DOI: 10.5325/comeperf.20.1.0161
Victoria Jane Rasbridge
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引用次数: 0
Performing Don Quixote in the Barrio: The Kid Quixote Project (Brooklyn, NY) and Don Quixote of Bethlehem (Bethlehem, PA) 在巴里奥表演堂吉诃德:孩子堂吉诃德计划(布鲁克林，纽约)和伯利恒的堂吉诃德(伯利恒，宾夕法尼亚州)
IF 0.4
Comedia Performance Pub Date : 2023-03-01 DOI: 10.5325/comeperf.20.1.0023
R. Miñana
{"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}
引用次数: 0
‘Nothing Succeeds like Excess’ in Lope de Vega’s La discreta enamorada 洛佩·德·维加(Lope de Vega)的《离散的环境》(La discreta enamorada)中的“没有什么比过度更成功”
IF 0.4
Comedia Performance Pub Date : 2023-03-01 DOI: 10.5325/comeperf.20.1.0004
A. Lauer
{"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}
引用次数: 0
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