Texto y espectaculo: Selected Proceedings of the Symposium on Spanish Golden Age Theater.

Fox, Dian; Mujica, Barbara

doi:10.2307/2904868

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MLN

1991

DOI: 10.2307/2904868

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Texto y espectaculo: Selected Proceedings of the Symposium on Spanish Golden Age Theater.

Dian Fox¹,

Barbara Mujica²

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Cited by 6 publications

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Awakening from the Dream: Calderón and the Perennial Philosophy

Bradburn-Ruster¹

1997

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Calderón's La vida es sueño has often been studied as a play about kingship and political order, but of late its relation to metaphysics, wisdom literature and spirituality has tended to be diminished or even denied. By focussing on the epistemological and ontological questions raised by the central status and role of dreams in this play and its neglected sister, En esta vida todo es verdad y todo mentira , we can glimpse concerns shared by Descartes, and indeed stemming back to Platonic and Aristotelian thought. Yet the notion of engaño and desengaño , suggesting blindness and illumination, hint not only at the depth of Calderón's Catholic vision, but of profound connections to other world wisdom traditions, such as the maya of Hinduism. By applying the insights of the sophia perennis , implicit in these wisdom traditions and articulated by modern scholars such as Coomaraswamy and Nasr, Calderón's views of the dream's role in spiritual enlightenment are clarified through a constellation of close parallels in Buddhist, Taoist, Hopi, Hindu, and Muslim traditions. Against this background, Calderón's plays are seen to transcend the narrow ideological confines in which they are often studied and presented.

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Awakening from the Dream: Calderón and the Perennial Philosophy

Bradburn-Ruster¹

1997

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Calderón Incorporated: Hands and Speech in Las tres justicias en una and El postrer duelo de España

Ganelin¹

2001

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Calderón's Las tres justicias en una and El postrer duelo de España both treat the nature of kingship, but also focus to a surprising degree on the use of hands, suggesting ways in which the body is incorporated into the dramatic texts. Recent writings in cognitive science point to a relationship between "precision hands and precision intelligence." Calderón seems to have intuited the ties between hand use and ability in speech; a character's poor use, or misuse, of a weapon is related to an incapacity to speak forthrightly. The monarchs in the two plays, as literal and figurative heads of state, resolve dilemmas by reincorporating the body with society, by establishing that the tactile is inseparable from the spoken recognition of objects and what they represent.

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Lope de Vega's Peribáñez in Translation French-Colombian Style: Omar Porras's "Masks of Reality" on the Boards of The Comédie-Française

Fischer¹

2008

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In the past decade, Peribáñez y el Comendador de Ocaña was not only produced once in Spain (2002), but also translated and mounted twice in England (1998, 2002). Florence Delay's faithful French rendering under the title of Pedro et le Commendeur reached the boards of The Comédie-Française in 2006 under the aegis of Colombian director Omar Porras. Porras deployed the mask à la James Ensor—with its contrastive elements of illumination and color—to depict the feudal story of eroticism, transgression, and vengeance in his mise en scène . In view of the extreme appropriation of an early modern text that Porras's staging represents, one wonders to what extent the ideologically encoded liminalities affecting the audience's perception of the performance generated a sophisticated confrontation with René Girard's so-called brand of "anticathartic irony": irony that is "experienced in a flash of complicity with the writer at his most subtle, against the larger part of the audience that remains blind to these subtleties" ( A Theatre of Envy 253). (SLF)

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Texto y espectaculo: Selected Proceedings of the Symposium on Spanish Golden Age Theater.

Cited by 6 publications

References 0 publications

Awakening from the Dream: Calderón and the Perennial Philosophy

Awakening from the Dream: Calderón and the Perennial Philosophy

Calderón Incorporated: Hands and Speech in Las tres justicias en una and El postrer duelo de España

Lope de Vega's Peribáñez in Translation French-Colombian Style: Omar Porras's "Masks of Reality" on the Boards of The Comédie-Française

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