Talía. Revista de estudios teatrales

Introduction. Identidad y patrimonio en los escenarios del ámbito hispánico

2024-06-13T07:44:53+00:00

Introduction.

Of Rusty Bicycles and Out-of-Tune Pianos. Testimonial Objects in Contemporary Plays about the Spanish Civil War and the Francoist Dictatorship

2024-07-24T12:54:17+00:00

Drawing on Marianne Hirsch’s concept of postmemory and a selection of studies on material memories of the 20th century political violence in Spain and Latin America, this article is interested in the role of testimonial objects in the intergenerational transmission of trauma caused by the Spanish Civil War and Francoist Spain. In particular, it examines the forms and functions of the witnesses’ former belongings in the theatre of memory. By focusing on three plays – Bagaje (1983) by Jerónimo López Mozo; Santa Perpetua (2010) by Laila Ripoll; and La armonía del silencio (2016) by Lola Blasco – the study explores theatre’s diverse possibilities to stage testimonial objects or, on the contrary, to mark their absence or latent state. The analysis also aims to delineate the potential of these objects to trigger acts of memory, affect the characters as well as influence dramatic action, time and space.

The Memory in the Production of Ana Diosdado. Decíamos ayer (1997) and The Wheel of Life

2024-07-24T12:53:55+00:00

Ana Diosdado's production encompasses a wide range of works in which the author projects the issues and concerns of Spanish society during the Transition period. Memory plays a predominant role in many of her pieces, as the author believes it is important to remember our past to improve our future. However, the concept of memory in her broad creative spectrum often transcends into the spiritual sphere, as aptly demonstrated by the piece "Decíamos ayer" (1997), and its connection with the expression of the wheel of life originating from Buddhism and Hinduism. An analysis is provided to unravel its complex textual architecture and highlight the importance it acquires in our sociocultural context.

An Anomalous Proposal for a National Theatre: The Case of Three Post-Revolutionary Playwrights: Amalia Caballero de Castillo Ledón, Concepción Sada, and María Luisa Ocampo

2024-07-24T12:54:09+00:00

This essay presents three emblematic dramas written by Amalia Caballero de Castillo Ledón, Concepción Sada and María Luisa Ocampo in which anomalous female representations that go beyond the imposed norm. This dramaturgy contrasts with the revolutionary discourse that tried to imagine what was Mexican, what was national, as a unique and true product of the Mexican Revolution.

Poncia: Rewriting and Updating La casa de Bernarda Alba

2024-07-24T12:54:01+00:00

The present work presents an approach of the play Poncia, released in October 2023, directed by Luis Luque and performed by Lolita Flores. It will be proposed an analysis of the relationship between the work and its intertext, La casa de Bernarda Alba, taking into account the rewriting procedures, the comparative work with the characters and the essential aspects of its staging. At the same time, the first reviews that the work has motivated will be taken into consideration. We will also reflect on the relationship of the play with its context and with the authorial figure of García Lorca. The play revalues a character who establishes reivindications not only about gender and class, but the human condition itself.

José Carlos Mariátegui reader of Luigi Pirandello

2024-07-24T12:53:58+00:00

During the stay in Italy of the Peruvian writer, politician and philosopher José Carlos Mariátegui, among all the modern avant-garde movements, it was the Sicilian playwright Luigi Pirandello who caught his attention to the point of dealing with him in two writings: The Pirandello Case (Variedades, March 1926) and in 'Freudism' in contemporary literature (Variedades, August 1926). The amauta who participated in the famous Congress of Leghorn (Livorno) in 1921 in which the left wing of socialism founded the Italian communist party, spoke several times with Pirandello, as Anna Chiappe, Mariátegui's widow, recalled during an interview (Caretas, 1969 ). The «art of a decadence, art of a dissolution; but Pirandello's vigorous and original art[…]The most faithful and powerful artistic translation of the drama of the “disenchanted soul” (Mariátegui, 1926), was the art that Amauta most debated and studied to the point of stating that the Sicilian playwright would have anticipated the futurist Filippo Marinetti "this sexagenarian and Sicilian writer is, in truth, much more modern than the explosive and futurist Marinetti and his entire school" (Mariátegui, 1926). Based on the analysis of the writings about Pirandello made by Mariátegui, I will try to explore the traces of the Sicilian's thought in the works of the Peruvian writer, philosopher and politician.

Feminine identity and national and racial identity in the afro-feminist work No es país para negras by Silvia Albert Sopale

2024-07-24T12:54:03+00:00

No es país para negras [2018] is a tragicomic one-woman show, co-written and performed by Silvia Albert Sopale, which narrates in the first person the life journey of a black woman born in Spain, in San Sebastián, in 1976. This self-referential journey through the life of the author herself, from childhood to adulthood, through adolescence and its questions, also includes the experiences of many Afro-descendant women, to highlight the identity tension that being an Afro-Spanish woman entails. The play constitutes a reflection on how Spanish society sees, or does not see, Afro-descendant women and how this view affects them in the difficult construction of their own identity, or rather in the expression of an identity in search of visibility. These women suffer both racism and sexism, a superposition of discrimination that can invite us to read and see the play from the perspective of intersectional feminism. Our objective will be to analyse how these two types of discrimination appear and combine in the situations evoked, and how Silvia Albert denounces them in her play.

La Pilarcita, by María Marull: Magical Realism, Miracle, and Carnival on the Argentine Coast

2024-07-24T12:54:12+00:00

In La Pilarcita, set on the Argentine coastline, María Marull explores the legend of a holy girl, Pilar Zaracho, and the cult that has been created around her miraculous powers. This article studies how the author combines in her text this popular celebration, which is attended annually by thousands of parishioners, with the region´s carnaval. Through a syncretic procedure, Marull achieves an interesting amalgamation, through the exploration of the Marvellous American Reality, in a text where she values the cultural heritage of a region and its identity.

October was Carnival: From the Crazy people’s party to the Party of those who are left over on the stage of the social revolt of October-19 in Chile

2024-07-24T12:54:05+00:00

Given the recent and turbulent past of what happened in the so-called Social Outbreak, the following article will analyse, from a performative perspective, the historical and carnivalesque scenario of social unrest expressed in Chile during October 2019. With this we intend to address the evident crisis of representativeness of an agglomeration without a subject in its coefficient of revolt, insofar as it comprises a “repertoire” (Taylor, 2015) that has managed to be transmitted, despite all attempts of hegemonic repression, under various forms of festive expression of Chilean idiosyncrasy. This leads us to think about a displacement of historical-popular roots (that is, the once crazy people’s party, now the party of those who are left over) that would account for the materialities of possible social struggles not necessarily inscribed in a specific political sector. In this sense, we will review in a general way the theoretical discussion about carnival in Europe and Latin America and its political disruptive potential. Then, through a situated study we will reflect on the elements that reveal the scenario of the octobrist revolt, both in its full participation and in its attempt of analytical distancing.

Ignacio López Alemany ed. Las amazonas de España; La hazaña mayor de Alcides, de José de Cañizares. Iberoamericana – Vervuert: Madrid – Frankfurt. 2018. ISBN: 978-84-8489-248-9. 224 pp.

2024-06-13T08:03:46+00:00

Raquel Serrano González ed. y trad. El príncipe apasionado, de Aphra Behn. Oviedo: Luna de Abajo. 2023. ISBN: 978-84-86375-69-0. 136 pp.

2024-06-13T08:05:18+00:00

José Romera Castillo ed. Teatro, ecología y gastronomía en las dos primeras décadas del siglo XXI. Madrid: Verbum. 2023. ISBN.: 978-84-1136-055-5. 512 pp.

2024-06-13T08:06:53+00:00

Alba Saura-Clares. El movimiento argentino Teatro Abierto (1981-1985). De la tradición a la contemporaneidad escénica. Murcia: Ediciones de la Universidad de Murcia. 2022. ISBN: 978-84-17865-91-7. 352 pp.

2024-06-13T08:08:58+00:00

El honrado hermano by Lope de Vega: the greatness in defeat

2024-07-24T12:54:19+00:00

This paper examines El honrado hermano, a historical comedy by Lope de Vega set in Ancient Rome, from the construction of its four main characters. Our analysis shows that the protagonist couple, who are part of the victors –the Romans Horatio and Flavia – do not fulfill the typical features of the gallant and the lady in Lope, but rather it is the rival couple – Curiacio and Flavia – who assume these characteristics as their own. It is concluded that this situation – which is already potentially present in the main source of the play, Titus Livy’s History of Rome – has to do with a political reading of the play: the past of Rome is dramatized from a heroic perspective, but the positive vision is assumed by the losers of the conflict: the people of Alba Longa. The recognition and assumption of the defeated is proposed as a condition for the development of the empire, a reading that can be projected to the creation of a collective Hispanic identity.

Between Christs and patterns: Sonority as a fissure affecting the embodied memory of Catholic Lihueimo

2024-07-24T12:54:07+00:00

This article analyzes the sonorities generated by the parishioners of the rural town of Lihueimo, Chile, during the commemoration of the Holy Week ceremonies. We will investigate the sonorous and theatrical dimensions, which account for certain historical factors linked to the relationships of patronage and servitude in the locality, traceable through sources such as oral testimonies and press documents in the mid-twentieth century. This paper asks how these relations of subordination affect the sonorities and bodies of the faithful and how this affects their bodily memory.

The Presence and Rewriting of Àngel’s Guimerà’s Work in Theatre, the Press, and Film in Argentina

2024-07-24T12:54:14+00:00

During the lengthy period comprising 1894 to 1972, there was a wide diffusion of the work of Àngel Guimerà on stages, in the press, and on screens throughout Argentina. Apart from focusing on its implementation, this article presents several examples of transformations of Guimerà’s Terra baixa and the reappropriation of the text with various results within the political and social context of Argentina. Buenos Aires, a Latin American cultural metropolis, functioned as the melting pot of the American and the European routes for the internationalization of the Catalan play with the greatest international dissemination.

Bertolt Brecht and El Galpón. Soul, methods and resistance

2024-07-24T12:54:21+00:00

Relevance of Bertolt Brecht stagings performed by the Institución Teatral El Galpón throughout her history is assessed in this article. Moreover, the impact of the stagings in the group’s development in terms of aesthetics, methods and discourse is reviewed.