As befits an entremés, the plot of El retablo de las maravillas is simple. Two swindlers, the man Chanfalla and the woman Chirinos, persuade the authorities of a. The Governor, and his city officials, Petra. Capacho, Juana Castrada, and Benita. Repollo happen upon Chirinos and. Chanfalla. Chanfalla introduces herself as. Cervantes-Entremés de El retablo de las – Download as PDF File ( .pdf) or view presentation slides online.
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With a story that will remind some of The Emperor’s New Clothes, this piece seems to have been influenced by that culture as two swindlers try to convince the townspeople that only people with pure Christian blood can see what they have to offer.
This sets in motion the stu- dent’s quick wit and subsequent deception through which the play reach- es its comic climax ,as reestablishes the order of play into the matrimo- nial chaos of Leonarda maravilkas Pancracio. The extent of Cervantes’ influence on the dramatic form itself is limited to the borrowing of only his most basic of plot elements, and sometimes characters, by those who later worked the genre into its definitive form.
Writings on Politics, Society, Psychoanalysis, and the Imagination.
Cervantes’ publication expands the reception of his entremesesshifting his audience to the reader, and away from theatre-going oyentesfor whom a second or third reading for retrospective analysis of the works is not possible. Consequently, aspects of novelization can begin to manifest themselves in other genres anytime after the appearance of the modern novel, but they do not reach a significant level of importance -or canonical recognition- until much later.
Cristina quickly takes up this game and plays it with him: It follows that since Cervantes was one of the first to master novelistic discourse in his prose writing, and, indeed, introduced the western world e the modern novel, his drama would amravillas display a certain novelistic quality. The last two “hoax interludes” share the common theme of adultery, the first through a pre-planned debauch while the husband leaves home to attend his sister’s wedding, and the second through an impromptu scheme to sneak a man into the house right under the jealous husband’s nose.
Novelistic prose is often characterized by thematic indeterminacy and openness, which requires the thoughtful collaboration of the reader for closure. Please log in or sign up for a free account.
Info Alerts Maps Calendar Reserve. It is due in part to this irresolution that the interludes invite the intellectually contemplative analysis to which Cervantes referred when he suggested reasons for redirecting his drama toward the discerning reader. In his prologue, Cervantes relates the roundabout manner in which his plays reached the press, thus beginning the debate over their allegedly problematic theatricality:.
Length alone, however, does not justify drawing parallels between the two genres; the analogous relationship depends on each form’s interaction with another, longer form. Thrown into the role of puppeteer, with an audience prepared to behold the marvelous spectacle, the student, by manipulating the function of superstition in the social imaginary, now brings the devils out in the form of the sexton and the barber, their faces blackened by the coal.
As part of the education outreach effort that Chamizal National Memorial provides to accompany the Festival main stage performances each year, Eden Enterprises will have presented a performance for educators during the Siglo de Oro Festival Teacher Workshop and ten performances for students both at their schools and in the Chamizal National Memorial Theater.
A permanent shift toward novelization in the mainstream short drama would not come at all in the seventeenth century. However, the black magic performed by the clever student is only the secondary deception, produced ad hoc as a way to allow Leonarda to escape from the disastrous consequences of infidelity.
Entremes del retablo de las maravillas – Luis Quiñones de Benavente – Google Books
Whether or not Cervantes wrote his interludes to be read and not performed, as Nicholas Spadaccini argues, until recently we have indeed been limited to the act of reading and to the mental visualization of these pieces. It contains its own course and meaning”; in this sense, play is “an interlude in our daily lives” 9. Significado y doctrina del “Arte nuevo” de Lope de Vega.
The redirection of his drama to the reading public may also explain, at least in getablo, why Cervantes’ novelistic innovations did not influence the subsequent development of the teatro menor in Spain. It is plasticity itself. As Retabko Robert Jauss points out, the second reading of a text allows for a more detailed analysis of meaning:. Universidad de Castilla-La Mancha, Such irony in Cervantes’ entremeses seems to be a mwravillas quality which distinguishes his drama from more mainstream plays.
Although not performed in his lifetime, the eight entremeses one-act plays Cervantes published have received plenty of critical attention in the 20th century. It seems Cervantes the dramatist was never far removed from Cervantes the novelist, and his proficiency in the creation of prose fiction helped to enrich his dramatic production as well, in effect making a critical literary form out of a previously rough dramatic diversion. Since, chronologically, the writing of the play precedes any given performance, it might appear quite legitimate to suppose the simple priority of the one over the other Such, indeed, is the only possibility open to a genre that structures itself in a zone of direct contact with maravlllas reality.
Three Entremeses Cervantinos
And these reasons, which go beyond his dee and suspicions, are not coincidentally the same as the complaints raised in the first inter- lude of the collection, Eljuez de los divorcios, a play that not only fore- shadows these last two interludes, but also serves as their inevitable finale. Multiplicity of language styles is, of course, common in the interlude as a genre, but the fact that Cervantes problematizes language is an important feature related to the process of novelization.
Entdemes assumption here, of course, is that deferring cultural authority and control is Cervantes’s artistic goal. Novelization and the subsequent redefinition of drama as a purely readable literary work implies a change in both the literary and the theatrical horizon of expectations which must have been met with a certain marqvillas of curiosity.
Cervantes may have succeeded in creating a new drama, departing from the constraints of ve dramatic theory and entremrs, but while the modern reader or theatre-goer recognizes his ingenious innovations, they were evidently not appreciated in the seventeenth century. Cervantes is generally thought to have been a better novelist and short story writer than playwright, although there are many critics who write favourably of his innovative dramatic craft.
In addition, the comedia ‘s plot consists of a carefully-constructed sequence of events, linked together by dramatic causality, which, once discovered, reveals the thematic meaning of the work as a whole. As in Cervantes’ prose creations, truth is rendered subjective in the interludes by the dramatist’s novelistic and dialogic stance.
As will be discussed later, characters are drawn almost exclusively according to stereotypical stock-figures, plots consist of one singular action, and the elucidation of thematic meaning is almost non-existent.
Furthermore, this broad-based ironic humor allows Cervantes to engage in satirical self-deprecation. Entry written by Kathleen Jeffs. Even when Cervantes chooses to include traditional, stereotyped characters in his works, he modifies them slightly, often using the type as an agent of novelistic theme.
Actas del I Congreso Internacional sobre Cervantes. Most important, as Bakhtin has suggested, is the openendedness of novelized literature. In Retablo, this phenomenon is clearly perceived as a self-creative act, since the townspeople are reliv- ing and “wishing forward” their own cultural history, their own cultur- al experience, their own being, through allusions to their system of val- ues and beliefs, and their primal fears.
The Governor and his aldermen want to be seen as good cristianos viejosOld Christians of pure blood, untainted by any Jewish or Muslim origin.
As Leonarda stalls Pancracio ‘s entrance into the house, she quickly dispatches the suitors to a loft full of coal: Only after his comedias and entremeses had been deemed inappropriate for the stage did he sell his scripts to a bookseller with the intention of releasing them for the reading public.
These works were usually written independently of the full-length play and were not meant to tie in with that story. Y las comedias tienen sus sazones y tiempos, como los cantares. In contrast, novelistic prose is not regularly constrained by formulaic structure. Bakhtin list a series of modifications which we can expect to encounter in any novelized genre:. Much in the same way he redefines the novella and creates the modern novel, Cervantes also attempts a change in the seventeenth-century conception of drama in Spain, but in a manner far different from Lope de Vega.