El sí de las niñas, segundo centenario

The first steps of El sí de las niñas’s career are evoked from the author’s diary and the work realized by Juan Pérez de Guzmán in 1906 about the first century of comedy, in particular the different lectures, public and private, that the author delivered from 1801 in contemplation of the publication and the premiere, the choice of the actors and the rehearsals, the audience’s reaction in Madrid, Zaragoza, Cádiz, Barcelona in 1806 and the following decades, as much as the indubitable attraction of the misalliance theme. There is then a suggestion of the possibility to clarify the old man’s “generosity”, he who is able to “sacrifice” himself, triumphing over his passions, as embodied by Don Diego’s character, “man of good will” according to Moratín and many historians, depending on an outcome which achieves to reconcile generally irreconcilable interests, that are parental authority and the freedom to love.Se evocan las primeras etapas de la carrera de El sí de las niñas a partir del diario íntimo del autor y del trabajo realizado por Juan Pérez de Guzmán en 1906 con motivo del primer centenario de la comedia, en particular las distintas lecturas, privadas y públicas, que efectuó el autor desde 1801 en previsión de la publicación y del estreno, la elección de actores y los ensayos, las reacciones de los espectadores en Madrid, Zaragoza, Cádiz, Barcelona en 1806 y decenios siguientes, así como el indudable atractivo del tema del matrimonio desigual. Se trata de sugerir a continuación la posibilidad de matizar la “generosidad” del anciano, capaz de “sacrificarse” triunfando de sus pasiones, tal como lo encarna la figura de Don Diego, “hombre de bien” según Moratín y no pocos historiadores, en función de un desenlace que logra conciliar intereses generalmente inconciliables, la autoridad paterna y la libertad de amar

De La comedia nueva a la reforma del teatro

A study on the importance of the reform proposed by Moratín in the field ofSpanish theatre of the late eighteenth century according to the ideas developed in La comedia nueva is proposed in this work. This last text will forever mark a milestone in the history of the Spanish theater. How such reform is a tough transformation that affects all elements of dramatic production as is also involved in the purely physical, economic and social aspects of theater performance is also studied in this work.Se propone en este trabajo un estudio sobre el alcance de la reforma planteada por Moratín en el ámbito de la escena española de finales del siglo XVIII de acuerdo con las ideas que desarrolla en La comedia nueva, un texto que marcará para siempre un antes y un después en la historia del teatro español. Se estudia cómo dicha reforma supone una dura transforma­ción que afectará a todos los elementos de la producción dramática, pues interviene también en los aspectos puramente materiales, económicos y sociales del espectáculo teatral

El sí de las niñas, segundo centenario

The first steps of El sí de las niñas’s career are evoked from the author’s diary and the work realized by Juan Pérez de Guzmán in 1906 about the first century of comedy, in particular the different lectures, public and private, that the author delivered from 1801 in contemplation of the publication and the premiere, the choice of the actors and the rehearsals, the audience’s reaction in Madrid, Zaragoza, Cádiz, Barcelona in 1806 and the following decades, as much as the indubitable attraction of the misalliance theme. There is then a suggestion of the possibility to clarify the old man’s “generosity”, he who is able to “sacrifice” himself, triumphing over his passions, as embodied by Don Diego’s character, “man of good will” according to Moratín and many historians, depending on an outcome which achieves to reconcile generally irreconcilable interests, that are parental authority and the freedom to love

From la Comedia Nueva to the theatre reform

Se propone en este trabajo un estudio sobre el alcance de la reforma planteada por Moratín en el ámbito de la escena española de finales del siglo XVIII de acuerdo con las ideas que desarrolla en La comedia nueva, un texto que marcará para siempre un antes y un después en la historia del teatro español. Se estudia cómo dicha reforma supone una dura transformación que afectará a todos los elementos de la producción dramática, pues interviene también en los aspectos puramente materiales, económicos y sociales del espectáculo teatral.A study on the importance of the reform proposed by Moratín in the field of Spanish theatre of the late eighteenth century according to the ideas developed in La comedia nueva is proposed in this work. This last text will forever mark a milestone in the history of the Spanish theater. How such reform is a tough transformation that affects all elements of dramatic production as is also involved in the purely physical, economic and social aspects of theater performance is also studied in this work

Post-Franco Theatre

In the multiple realms and layers that comprise the contemporary Spanish theatrical landscape, “crisis” would seem to be the word that most often lingers in the air, as though it were a common mantra, ready to roll off the tongue of so many theatre professionals with such enormous ease, and even enthusiasm, that one is prompted to wonder whether it might indeed be a miracle that the contemporary technological revolution – coupled with perpetual quandaries concerning public and private funding for the arts – had not by now brought an end to the evolution of the oldest of live arts, or, at the very least, an end to drama as we know it