Coautoría de «Sainetes y mojigangas» de Calderón y Emilio Carballido (México, 1985)

For Emilio Carballido, theatre was a pedagogical tool that could reach young people. Not only did he put several plays that dialogue with Spanish classical theater on stage, but also went on further and recast Golden Age dramas. That is what he did with «Sainetes y mojigangas», published in Teatro para adolescentes, sharing authorship with Calderon de la Barca: La tía, El desafío de Juan Rana, La rabia, and La muerte (Editores Mexicanos Unidos, 1985). The fictitious co-authorship was not only meant to circulate classical drama among Mexican people, but also brought young readers/actors close to apparently remote authors. This article studies the function and the adaptation of Calderonian interludes on the hands of Emilio Carballido through an analysis of their composition techniques, recasting, and scenic resources. The double authorship transplants the plays in time and space to make them intelligible to an audience that the Spanish author did not address originally; thus, defending the validity and importance of classical theatre today.&nbsp

Coautoría de «Sainetes y mojigangas» de Calderón y Emilio Carballido (México, 1985)

Emilio Carballido tenía la convicción de que el teatro es una herramienta pedagógica capaz de formar a los adolescentes. No se detuvo con poner en escena varias obras que dialogan con el teatro clásico español, sino que realizó refundiciones de piezas de los Siglos de Oro. Así hizo con los «Sainetes y mojigangas» que aparecen en Teatro para adolescentes bajo su autoría y la de Calderón de la Barca: La tía, El desafío de Juan Rana, La rabia y La muerte (Editores Mexicanos Unidos, 1985). La ficticia coautoría intentaba no solo difundir la dramaturgia clásica entre el pueblo mexicano, sino también acercar a los jóvenes lectores/actores a autores en apariencia lejanos. Este trabajo estudia la función y adaptación del teatro breve calderoniano en manos de Emilio Carballido a través del análisis de sus técnicas de composición, refundición y recursos escénicos. La doble autoría trasplanta de tiempo y espacio dichas piezas para hacerlas inteligibles a un público al que no se dirigía el autor español originalmente, defendiendo así la vigencia e importancia del teatro clásico en nuestros días.For Emilio Carballido, theatre was a pedagogical tool that could reach young people. Not only did he put several plays that dialogue with Spanish classical theater on stage, but also went on further and recast Golden Age dramas. That is what he did with «Sainetes y mojigangas», published in Teatro para adolescentes, sharing authorship with Calderon de la Barca: La tía, El desafío de Juan Rana, La rabia, and La muerte (Editores Mexicanos Unidos, 1985). The fictitious co-authorship was not only meant to circulate classical drama among Mexican people, but also brought young readers/actors close to apparently remote authors. This article studies the function and the adaptation of Calderonian interludes on the hands of Emilio Carballido through an analysis of their composition techniques, recasting, and scenic resources. The double authorship transplants the plays in time and space to make them intelligible to an audience that the Spanish author did not address originally; thus, defending the validity and importance of classical theatre today

Juárez liminal: cuerpos, espacio público y teatralidades feministas al borde

https://citru.inba.gob.mx/publicaciones.html?id=88

Muestra Estatal de Teatro: 28 years of scenic activity

With almost three decades of consecutive performance, the MET in Chihuahua is essential to understand the regional stage work in context with the national scene. Our main objective consists of a critical evaluation of its latest edition, the 28th, based on a synchronous and diachronic analysis that deals with the origin and trajectory of both MET and the companies that participated in the Delicias Region from August the 17th to the 22nd of last year. Theatre criticism of the programmed productions will be the turning point to appreciate the state of the art that contemporary Chihuahua theatre is in right now

Cartografía literaria de Ciudad Juárez

http://www.edicioneseon.com.mx/ensayo/e83.ph