Estudia los resortes políticos, sociales, culturales y literarios que caracterizan la recepción de Calderón en la España del siglo XIX, cuando su figura quedó convertida en símbolo ideológico del conservadurismo político español.
Obra de teatro de la escritora madrileña Mar Gómez González, galardonada con el Premio de Teatro Calderón de la Barca 2011. La obra se inspira en el incidente del barco español Francisco y Catalina, que rescató en el Mediterráneo una barca a la deriva con 51 inmigrantes ilegales. Tanto los naúfragos como la tripulación quedaron atrapados durante ocho días en condiciones extremas, mientras Malta, España y la Unión Europea discutían sobre su destino.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Aunque parezca increíble, El jardín de Falerina , comedia caballeresca, escrita en colaboración por Pedro Calderón de la Barca, Francisco de Rojas Zorrilla y Antonio Coello, ha permanecido inédita desde su estreno en enero de 1636. Es el texto de uno de aquellos deslumbrantes espectáculos palaciegos a que tan aficionados fueron Felipe IV, Isabel de Borbón y su corte. Las hazañas de los caballeros de Boiardo y Ariosto son recreadas en libertad por los dramatugos españoles con un derroche de fantasía y humor y distancia irónica y con un sorprendente aparato escénico, que el ingeniero florentino Cosimo Lotti creó para la ocasión. De esta edición De la primera edición de esta singular comedia se han cuidado Felipe B. Pedraza Jiménez y Rafael González Cañal, de la Universidad de Castilla-La Mancha, especialistas en el teatro del Siglo de Oro, directores de las Jornadas de teatro clásico de Almagro y de la edición de las Obras completas de Francisco de Rojas Zorrilla.ÍndiceINTRODUCCIÓN 1. Razones de una sinrazón 1.1. El inabarcable patrimonio teatral áureo 1.2. Desatención crítica a las comedias de varios ingenios 1.3. Razones específicas de este olvido: los distintos «Jardines...» 1.4. Estudios y comentarios sobre una comedia inédita 2. Los poetas 2.1. Los «pájaros nuevos» 2.2. Pedro Calderón de la Barca 2.3. Francisco de Rojas Zorrilla 2.4. Antonio Coello y Ochoa 3. Una representación palaciega 4. Fuentes próximas y remotas 4.1. La materia caballeresca y las fiestas reales 4.2. La materia carolingia y «El jardín de Falerina» 4.3. El mito del jardín embrujado 4.4. La locura de Orlando 5. Los personajes y la trama 5.1. La reelaboración de los materiales 5.2. La metamorfosis de los personajes 5.3. Cohesión dramática y variedad argumental 6. Tramoya, música, espectáculo y poesía 7. Bibliografía comentada 8. métrica Jornada primera Jornada segunda Jornada tercera Resumen de las diferentes formas estróficas LA GRAN COMEDIA DE EL JARDÍN DE FALERINA DE TRES INGENIOS Jornada primera de Don Francisco de Rojas Jornada segunda de Don Antonio Coello Jornada tercera de Don Pedro Calderón NOTAS APARATO DE VARIANTES Testimonios Variantes
Durant la temporada 2002-2003, el TNC va engegar el Projecte T-6, un programa que ofereix als dramaturgs la possibilitat d?escriure i estrenar un text segons un procés que comprèn des de la discussió de les primeres idees i intuïcions
O livro busca investigar como a fala cênica pode influenciar na criação. Também, busca compreender quais seriam os recursos de voz que tornam o ator poroso e permite a ele responder aos estímulos cênicos.
Estudia los resortes políticos, sociales, culturales y literarios que caracterizan la recepción de Calderón en la España del siglo XIX, cuando su figura quedó convertida en símbolo ideológico del conservadurismo político español.
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Obra de teatro de la escritora madrileña Mar Gómez González, galardonada con el Premio de Teatro Calderón de la Barca 2011. La obra se inspira en el incidente del barco español Francisco y Catalina, que rescató en el Mediterráneo una barca a la deriva con 51 inmigrantes ilegales. Tanto los naúfragos como la tripulación quedaron atrapados durante ocho días en condiciones extremas, mientras Malta, España y la Unión Europea discutían sobre su destino.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Aunque parezca increíble, El jardín de Falerina , comedia caballeresca, escrita en colaboración por Pedro Calderón de la Barca, Francisco de Rojas Zorrilla y Antonio Coello, ha permanecido inédita desde su estreno en enero de 1636. Es el texto de uno de aquellos deslumbrantes espectáculos palaciegos a que tan aficionados fueron Felipe IV, Isabel de Borbón y su corte. Las hazañas de los caballeros de Boiardo y Ariosto son recreadas en libertad por los dramatugos españoles con un derroche de fantasía y humor y distancia irónica y con un sorprendente aparato escénico, que el ingeniero florentino Cosimo Lotti creó para la ocasión. De esta edición De la primera edición de esta singular comedia se han cuidado Felipe B. Pedraza Jiménez y Rafael González Cañal, de la Universidad de Castilla-La Mancha, especialistas en el teatro del Siglo de Oro, directores de las Jornadas de teatro clásico de Almagro y de la edición de las Obras completas de Francisco de Rojas Zorrilla.ÍndiceINTRODUCCIÓN 1. Razones de una sinrazón 1.1. El inabarcable patrimonio teatral áureo 1.2. Desatención crítica a las comedias de varios ingenios 1.3. Razones específicas de este olvido: los distintos «Jardines...» 1.4. Estudios y comentarios sobre una comedia inédita 2. Los poetas 2.1. Los «pájaros nuevos» 2.2. Pedro Calderón de la Barca 2.3. Francisco de Rojas Zorrilla 2.4. Antonio Coello y Ochoa 3. Una representación palaciega 4. Fuentes próximas y remotas 4.1. La materia caballeresca y las fiestas reales 4.2. La materia carolingia y «El jardín de Falerina» 4.3. El mito del jardín embrujado 4.4. La locura de Orlando 5. Los personajes y la trama 5.1. La reelaboración de los materiales 5.2. La metamorfosis de los personajes 5.3. Cohesión dramática y variedad argumental 6. Tramoya, música, espectáculo y poesía 7. Bibliografía comentada 8. métrica Jornada primera Jornada segunda Jornada tercera Resumen de las diferentes formas estróficas LA GRAN COMEDIA DE EL JARDÍN DE FALERINA DE TRES INGENIOS Jornada primera de Don Francisco de Rojas Jornada segunda de Don Antonio Coello Jornada tercera de Don Pedro Calderón NOTAS APARATO DE VARIANTES Testimonios Variantes 
Durant la temporada 2002-2003, el TNC va engegar el Projecte T-6, un programa que ofereix als dramaturgs la possibilitat d?escriure i estrenar un text segons un procés que comprèn des de la discussió de les primeres idees i intuïcions
O livro busca investigar como a fala cênica pode influenciar na criação. Também, busca compreender quais seriam os recursos de voz que tornam o ator poroso e permite a ele responder aos estímulos cênicos.