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

La presencia de Dios en la literatura medieval y en la obra de Rosalía de Castro

Actas do Congreso Internacional de estudios sobre Rosalía de Castro e o seu tempo: Santiago, 15-20 de xullo de 1985Universidade de Santiago de Compostela-Consello da Cultura Galeg

Narrativa arquetípico-novalesca y narrativa dramática de la poesía galaicoportuguesa medieval

In this study the dramatic and novelistic aspects of Galaico-Portuguese poetry are analysed. We point out the dramatic tendency of the cantigas showing that the troubadours and jougleurs grouped together a certain number of cantigas with a dramatic purpose. This is demonstrated by the 12 cantigas with which Lopo L(')ias has created a satirical play, which we have entitled Os Zevroes, and which will be studied in the last chapter of this study.Secondly, the narrative and thematic structures of some 1.150 love songs are analysed. In this case, the cantigas de amigo and the cantigas de amor are seen by us as if they had been written by only one author, who had proposed to create with them a complex sentimental plot in dialogue.In order to prove the existence of a sentimental narrative romance in the Cancioneiros, the cantigas de amigo and the cantigas de amor have been classified into three categories: (a) third-person cantigas, in which the poet describes what the young girl (Amiga) does and says; (b) polyphonic cantigas, in which the poet dialogues with a female character (the pastourelle represents a particular kind of polyphony) and (c) sentimental cantigas, in which the poet disappears altogether, leaving way for the archetypal characters (the Amiga, the Amigo, the Mother, the Go-Between, etc) to express themselves freely, enabling us to reconstruct a dramatic-narrative romance. The analysis of this romance is based upon the formal and thematic particularities of the sentimental cantigas.The sentimental cantigas, in monologue or dialogue form, are open utterances. They are mutually complementary and they are spoken by archetypal characters, always denominated in the same manner, but who lack a proper name, who communicate among themselves, but are not described by the poet. These characters are "voices" that have been grouped together in this study in a causal and chronological order, so as to define the theme and the plot of the archetypal romance of the Cancioneiros.The narrative structure of the archetypal romance can be appreciated in the 374 cantigas de amor and de amigo which are found in the Appendix to this study, titled "Narrative anthology of Galaico-Portuguese love poetry"

Benito Pérez Galdós

In Galdós\u27 time, the tensions between such diverse phenomena as coins and credit, free trade and protectionist tariffs, factory work and domestic economy, masculine and feminine, and private and public exacerbated friction among peoples—those of pueblo and rural origins, whose voices rasped and whose bright colors raked the eye, and a nascent, insecure bourgeosie who, fearful of the masses, strove to imitate the aristocracy. Old and new converged also with the question of suffrage and citizenship to aggravate social malaise and political upheavals—Carlist wars, palace intrigues, the Revolution of 1868 and overthrow of Queen Isabel, the brief reign of Amadeo of Savoy, the aborted First Republic and the Bourbon Restoration (1875-1885), which reached Spain from England in the imported person of Alfonso XII. These turbulent events undergird the cultural, historical, and political events of the novels by Benito Pérez Galdós (1843–1920) to be discussed in this chapter. Galdós is the author of seventy-seven novels, twenty-six original plays, and numerous occasional pieces, written between 1867 and 1920. These divide into two main categories: the historical and the contemporary social novels, now more appropriately described as novels of modernity The forty-six historical novels, called Episodios nacionales, make up five series, each consisting of ten interconnected novels, except the fifth series, left unfinished. The thirty-one novels of modernity, published between 1870 and 1915, also divide into two groups: Novelas de la primera época ( Novels of the Early Period, 1870–1879) and Las novelas de la serie contemporánea ( The Contemporary Social Novels, 1881–1915). The novels of the early period comprise Galdós\u27 first attempts at novel writing, as well as four so-called thesis novels : Doña Perfecta (1876), the sequel Gloria (1876–1877), Marianela (1878), and La familia de León Roch ( The Family of León Roch, 1878–1879). The next group of novels represents what Galdós called his segunda manera —his second style, a different kind of writing ... a more sophisticated and varied mode of narrative presentation