Los autos sacramentales en Madrid en la epoca de Calderon, 1637-1681. Estudio y documentos

Reichenberger, Arnold G.; Shergold, N. D.; Varey, John E.

doi:10.2307/471414

Cited by 3 publications

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“…La investigación histórica y filológica puede complementar una praxis escénica que pruebe la viabilidad de lo expuesto de modo que se confirme o corrija lo que investigadores de la talla de Shergold y Varey (1961), Ruano de la Haza (2000: 317-340), Varey (1980), Díez Borque y Rudolf (1994), Poppenberg (2003, Arellano (2000: 85-108) y el Grupo de Investigación del Siglo de Oro6, Iglesias y Fernández Mosquera y el Grupo de Investigación de Calderón7, la escuela valenciana (Oleza, Teresa Ferrer Valls (2008), Rodríguez Cuadros (2012)8 y nosotros mismos en el ITEM hemos propuesto en términos teóricos con una comprobación práctica (Huerta 2003;Sáez Raposo 2019, 2020; Vélez-Sainz 2013; Vélez-Sainz y Bustos 2021)9. Proponemos, pues, reconstruir «arqueológicamente» una práctica escénica que se remonta a lo mejor de nuestro teatro clásico de modo que vemos los códigos con los que Calderón se comunicaba con los escenógrafos y miembros de la compañía teatral de Vallejo.…”

Section: Consecuencias En El Estudio De La Puesta En Escena: Los Carrosunclassified

La puesta en escena como paradigma investigador: el caso del auto sacramental La vida es sueño (1673, 2019)

Sainz¹

2023

La Actualidad De Los Estudios De Siglo De Oro

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Section: Consecuencias En El Estudio De La Puesta En Escena: Los Carrosunclassified

La puesta en escena como paradigma investigador: el caso del auto sacramental La vida es sueño (1673, 2019)

Sainz¹

2023

La Actualidad De Los Estudios De Siglo De Oro

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CALDERÓN (continued) ROJAS ZORRILLA, MORETO

Wilson

1969

Spanish Drama of the Golden Age

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The Historiography of European Linked Sword Dancing

Corrsin¹

1993

Dance Res. J.

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One of the most widespread and dramatic styles of folk dance performance throughout much of Europe over the past six centuries has been sword dancing, specifically the linked styles—often called “hilt and point” or “chain” sword dances—which were first reported in the late Middle Ages and are still practiced in a number of countries. In these dance styles, a group of dancers, normally ranging from four or five up to twenty-odd, moves through various figures, minimally lines and circles but often using very complex and demanding movements. The dancers are connected to one another by swords, or sword-like implements of metal or wood, which they usually hold with the hilt in their right hands and the point of the next dancer's sword in their left. The dancers have traditionally been men or boys, often members of a guild or profession, or in rural areas, the men of a parish or district.The dances are usually presented in the winter, most often during Carnival time or Shrovetide in much of northern and central Europe, or on Boxing Day or Plough Monday in England. But they might also take place on a local patron saint's feast day or other popular holiday. In Spain and Portugal the dances have been performed at Corpus Christi, in the summer. In many countries they have been presented to entertain royalty, wealthy tourists, folklore collectors, or other distinguished audiences. Particular speeches, songs, or short dramas have sometimes been associated with these dances. It has not been uncommon for a piece of mock combat to take place, perhaps with a fencing scene. A dramatic moment in some dances comes when the swords are locked or laid together. They then can be displayed in a star shape to the audience; used as a platform for a performer to stand on; or placed around a performer's neck, for an “execution”, sometimes followed by a “resurrection.” Nonetheless, the emphasis and originality of this style of dancing lies in the linked movements of the dancers, connected by their swords.

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Los autos sacramentales en Madrid en la epoca de Calderon, 1637-1681. Estudio y documentos

Cited by 3 publications

References 0 publications

La puesta en escena como paradigma investigador: el caso del auto sacramental La vida es sueño (1673, 2019)

La puesta en escena como paradigma investigador: el caso del auto sacramental La vida es sueño (1673, 2019)

CALDERÓN (continued) ROJAS ZORRILLA, MORETO

The Historiography of European Linked Sword Dancing

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