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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It is an enrichment of a different genre, in this case drama, which opens up new possibilities, and not an elimination or replacement of its systems and codes.

This entremes will be performed in Spanish. The creative act of making the scenes appear is left to the audience, since the entire enactment is of course a sham. This notion is driven home in Huizinga’s explanation that “[p]lay is battle and battle play” Alerts In Effect Dismiss.

This rather curious occurrence, the publishing of plays before they had fulfilled their artistic potential in performance, has led generations of scholars to underestimate the rich theatricality of Cervantes’ interludes. Almagro, 11, 12 y 13 de julio de While it is certain that Cervantes’ theatre was judged inadequate for the seventeenth-century stage, it remains to be seen exactly how his entremeses departed from the theatrical standards of the time or what it was lass in these plays that made them unacceptable.

Nonetheless, Cervantes’ mastery of literary prose and its conventions may, in fact, be partially responsible for the alleged theatrical inadequacy of his dramatic work.

Theatricality, as Elam suggests, can be defined by the need for stage contextualization, while the novel relies entirely on the written word for imaginative interpretation by a reader.

Lane Cooper et al. The novella, however, does not normally interact with the novel in any fundamental way.

La cueva de Salamanca. In El retablo de las maravillasfor example, he links the names and personalities of the characters Juan Castrado, Teresa Repolla, Juana Macha, etc. The Human Seriousness of Play.

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pas This is a critical difference regarding Cervantes’ plays in comparison with novelized drama in general. It follows that since Cervantes was one of the first to master novelistic discourse in his prose writing, and, indeed, introduced the western world to the modern novel, his drama would also display a certain novelistic quality.

Universidad de Castilla-La Entreemes, If Cervantes was able to recognize structural and functional similarities in the interlude and the prose short story, then the publication of his entremeses must have helped this perception to be seen by others as well. The written text constrains the performance in obvious ways Please log in or sign up for a free account.


El retablo de las maravillas

Critics have pointed out the impunity of the two men at the end of the play, which stands in stark contrast to the mockery endured by the two women See Johnson 17 and Canavaggio With a story maravllas 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.

El retablo de las maravillasMiguel de Cervantes Saavedra. It is, by its very nature, not canonic. The play ends in a big fight, with the tricksters congratulating themselves on a successful swindle.

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. The writing of what we now call literature writing for a fetablo public is by definition substantially different from composition for the stage, where a number of complex semiotic systems are simultaneously at work.

Cervantes and the Novelization of Drama: As in Cervantes’ prose creations, truth is rendered subjective in the interludes by the dramatist’s novelistic and dialogic stance.

The individualized characters, the overt satire of contemporary society, the double-entendre of heteroglot language, and the labyrinthian games of structure may have been excessively intricate for successful juxtaposition alongside or, more precisely, within the traditionally dominant comedia. 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 element of curiosity.

The appearance of dramatic work in print was not an entirely maravillss practice in the time; plays were entremed published more often than not without the direct intervention of the dramatist after their success had been proven on the stage. Estudios y Ensayos The season performance ofMaravillas de Cervantes by Els Comediants may just have been the catalyst for change that contemporary companies needed.

Entremees complaints and the judge’s reluctance to grant them what they seek reyablo a wealth of humor. While the writer of prose fiction can and, indeed, must create a fictional world with verbal imagery and narrative style, the dramatist will also consider the languages of physical gesture and movement, voice quality, spatial relationships, and music, to name but a few.


Log In Sign Up. Cinco variaciones sobre un tema de Cervantes. Huizinga underscores in his foreword to this book that he had repeatedly insisted on the phrase “the play element of culture” rl not “the play element in culture” because, he says, “it was not my object to define the place of play among all the other manifestations of culture, but rather to ascer- tain how far culture itself bears the character of play” i.

El Libro de Bolsillo However, in this case, a veritable chink in the social armor is revealed in the form of the question of honor—”la negra honrilla” —and the widespread fear of being considered illegitimate or of an impure line- age—”dos tan usadas enfermedades” —opens the door to chicanery. The publication of his collected interludes at the end of the volume, separated from the text of his comedias and removed from the theatrical performance, extracts the interlude from its essential context, treating it more like a short story.

Whereas most of the novelized drama written after Cervantes particularly in the nineteenth and twentieth centuries has remained in the theatre as texts for performance, Cervantes’ drama made its first appearance in print, as a text for reading.

Cervantes is best known and justifiably so as the father of the modern novel, who refashioned prose writing to such an extent that future generations of maravillaa would continue to follow his leads.

Three Entremeses Cervantinos – Chamizal National Memorial (U.S. National Park Service)

Don Quijote and the Novelas ejemplares show his interest in experimentation and the exploration of the unlimited possibilities of narrative fiction.

We must not lose sight of the tremendous irony in the fact that the towns- people allow themselves to be turned into puppets in order to uphold their notion of honor, while the law stage directors, who represent the face of emerging capitalism, care not a whit for their own honor. In a provocative essay on Cervantes’s interludes, Anne Cruz has effec- tively argued that these short pieces “cannot entirely break away from the normalizing roles assigned to theatrical production by seventeenth-centu- ry Spain’s social systems.

Were Cervantes’ entremeses bad theatre?