BULLETIN OF THE COMEDIANTES最新文献

{"title":"‘Black but Human’: Slavery and Visual Art in Hapsburg Spain, 1480–1700 by Carmen Fracchia (review)","authors":"Tanya J. Tiffany","doi":"10.1353/boc.2021.0030","DOIUrl":"https://doi.org/10.1353/boc.2021.0030","url":null,"abstract":"","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41882601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Barlaán y Josafat by Lope de Vega (review)","authors":"juanma berbel","doi":"10.1353/boc.2021.0039","DOIUrl":"https://doi.org/10.1353/boc.2021.0039","url":null,"abstract":"","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43210517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Prologue","authors":"Julia C. Hernández","doi":"10.1353/boc.2021.0020","DOIUrl":"https://doi.org/10.1353/boc.2021.0020","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Prologue <!-- /html_title --></li> <li> Julia C. Hernández </li> </ul> <p>The cover of the present volume returns to the theme of Federico García Lorca and La Barraca explored in volume 73, number 1. We also continue our reflections on the student troupe’s legacy ninety years after it first set forth to travel the Spanish countryside, one of the Second Republic’s state-sponsored <em>misiones pedógicas</em> designed to bring the theater of the Golden Age to contemporary rural audiences. Featured here is Lorca’s own sketch of another type of itinerant trickster drawn from La Barraca’s repertoire: the vagabond <em>estudiante</em> of Cervantes’s <em>La cueva de Salamanca</em>, who proves himself something of a skilled actor in staging a <em>scene</em> of his own design to sing for his supper (fig. 1). The 1932 re-envisioning of Cervantes’s student <em>performer</em>, refracted through the Lorquian lens and brought to life by La Barraca’s own student-actors, invites us to consider how the <em>misiones pedagógicas</em> of previous generations continue to inform our own teaching and research practices today.</p> <p><em>La cueva de Salamanca</em>, performed as part of a trio of Cervantine entremeses alongside <em>La guarda cuidadosa</em> and <em>Los dos habladores</em>, formed an essential part of La Barraca’s programing from its first sally to Burgo de Osma in the summer of 1932.¹ Lorca saw the entremeses as central to the company’s <em>misión pedagógica</em>, accessible in their themes, vivid in their language, direct in their structures.² While intimately involved in all stages of their production, Lorca took a particular interest in the details of <em>La cueva</em>’s costumes, sketching the designs for the four principal characters, including the Salamancan visitor, in his own hand (figs. 1–4).³</p> <p>The resulting images are quintessential La Barraca: in the case of the student, the bright colors of his garb, designated by Lorca as “naranja” and “encarnada” in the sketch’s upper right-hand corner, suggest the vanguardist mise-èn-scene Lorca saw as essential to La Barraca’s mission to bring the public the most cutting edge of theater arts (see fig. 1 and cover); to Plaza Chillon’s eye they are “explosivos” and “picassianos,” reminiscent of Lorca’s design collaboration with Dalí for <em>Mariana Pineda</em> (201–02).⁴ <strong>[End Page 5]</strong></p> <p>The spoon-adorned bicorne atop the student’s head, however, evokes a more ancient visual tradition: the iconography of the wandering Salamancan student; roving and hungry, the stock character of the Medieval <em>sopista</em> would arrive, cutlery stowed in hat, to sing for their supper. Surviving as the symbol of Spain’s student choirs today—known as the <em>tuna universitaria</em>—the be-spooned hat, then as now, signals an act of perfo","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50167822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"El pintor de su deshonra by Pedro Calderón de la Barca (review)","authors":"N. F. Rodríguez","doi":"10.1353/boc.2021.0026","DOIUrl":"https://doi.org/10.1353/boc.2021.0026","url":null,"abstract":"","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43290058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Databases, Revenues, & Repertory: The French Stage Online, 1680–1793 / Données, recettes & répertoire. La scène en ligne (1680–1793) ed. by Sylvaine Guyot and Jeffrey S. Ravel (review)","authors":"Susan L. Fischer","doi":"10.1353/boc.2021.0032","DOIUrl":"https://doi.org/10.1353/boc.2021.0032","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Databases, Revenues, &amp; Repertory: The French Stage Online, 1680–1793 / Données, recettes &amp; répertoire. La scène en ligne (1680–1793)</em> ed. by Sylvaine Guyot and Jeffrey S. Ravel <!-- /html_title --></li> <li> Susan L. Fischer </li> </ul> <em>Databases, Revenues, &amp; Repertory: The French Stage Online, 1680–1793 / Données, recettes &amp; répertoire. La scène en ligne (1680–1793)</em>.<br/> Edited by Sylvaine Guyot and Jeffrey S. Ravel.<br/> MIT PRESS, 2020. <p><strong>THIS DIGITAL-ONLY</strong>, open-access, bilingual volume focuses on the ongoing work of the Comédie-Française Registers Project, an international initiative that investigates how digital humanities methods might “facilitate, enrich, and affect the study of the theatrical past,” as Sylvaine Guyot and Jeffrey S. Ravel state in their introduction (3). The Comédie-Française Registers Project springs from the incredibly complete manuscript and print records of the Comédie-Française preserved in the Bibliothèque-Musée at the far side of the Palais-Royal in Paris. A set of 112 folio registers that records nightly box office receipts from over 34,000 performances has been digitalized. That sales data has been made available online through three search and visualization tools, with access provided through an application program interface. The volume— comprised of three sets of essays, their respective comment, and a postface—is available as a PDF for download from (https://cfrp.mitpress.mit.edu). The editors and their contributors offer a dialogical approach to questions such as: How did politics, economics, and social conflict fashion the troupe’s repertory and affect its finances? Was the theater a place for critical colloquy of public issues, or a place to seek escape from the vicissitudes of life’s experiences?</p> <p>Section 1, “Interpreting Data, Visualizations, and Sound,” explores the long-term tendencies in box office receipts and repertory choices throughout the eighteenth century and is rounded off by Dan Edelstein’s comment aptly titled “Back to the Future.” In his essay, “The Comédie-Française by the Numbers, 1752–2020,” Ravel compellingly invokes three earlier print studies—those of a “grub street writer” (Charles de Fieux, Chevalier de Mouhy, 1701–84), “an érudit” (Alexandre Joannidès, 1879–1926), and an “American literary historian” (Henry Carrington Lancaster, 1882–1954)—that <strong>[End Page 111]</strong> attempted to quantify the daily receipt registers of the Comédie-Française theater troupe. In the same way that the Comédie-Française Registers Project and other digital humanities projects reflect the exigencies of the second decade of the twenty-first century, so each of those earlier endeavors was informed by the ideological and sociocultural interests and expectations of the historical moment. Revisiting ","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50167824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Lope de Vega y el Humanismo cristiano ed. by Jesús Ponce Cárdenas, and: Literatura y devoción en tiempos de Lope de Vega ed. by Jesús Ponce Cárdenas (review)","authors":"Chad Leahy","doi":"10.1353/boc.2021.0019","DOIUrl":"https://doi.org/10.1353/boc.2021.0019","url":null,"abstract":"","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46854189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Hacia un primer teatro clásico. El teatro del Renacimiento en su laberinto ed. by Julio Vélez Sainz (review)","authors":"Laura Mier Pérez","doi":"10.1353/boc.2021.0016","DOIUrl":"https://doi.org/10.1353/boc.2021.0016","url":null,"abstract":"","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49028074","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Where Comedias Sueltas Go to Be Discovered","authors":"Szilvia E. Szmuk-Tanenbaum, M. Zalin","doi":"10.1353/boc.2021.0002","DOIUrl":"https://doi.org/10.1353/boc.2021.0002","url":null,"abstract":"Abstract:This research note provides an overview of Comedias Sueltas USA, a website dedicated to a census of holdings in US academic and independent research libraries of sueltas, understood as individual plays within the literatura de cordel tradition, published from circa 1600 to 1833 by printers based in Iberian cities, as well as population centers in Europe and the Americas ruled by Spain or within its sphere of cultural and political influence. We outline the project's fundamental goals and evolving methodologies since its conception in the early 1980s, as its founder and her collaborators have navigated the momentous technological changes that have placed special collections librarianship at the forefront of digital humanities. More recently, the project's collaborators adjusted their methods in response to the sudden closure of libraries the world over during the COVID-19 pandemic. Along with this chronicle of the long-running research collaboration, the authors provide an orientation to and explanation of the Comedias Sueltas USA website, explaining the kinds of research methods it supports for comedia and theater history studies, while also contemplating the potential for applying big data to major special collections projects.","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46099397","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"¿Quién te lo vezó a dezir? El habla de negro en la literatura del XVI, imitación de una realidad lingüística by Antonio Santos Morillo (review)","authors":"Diana Berruezo-Sánchez","doi":"10.1353/boc.2021.0017","DOIUrl":"https://doi.org/10.1353/boc.2021.0017","url":null,"abstract":"","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48161110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Quest for Certainty in Early Modern Europe: From Inquisition to Inquiry, 1550–1700 ed. by Barbara Fuchs and Mercedes García-Arenal (review)","authors":"S. Kimmel","doi":"10.1353/boc.2021.0009","DOIUrl":"https://doi.org/10.1353/boc.2021.0009","url":null,"abstract":"","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44493058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}