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- El galán fantasma
- Meaning of "galán" in the Spanish dictionary
Oscar Wilde. Fernando Pessoa. Peter Kropotkin. Mikhail Bakunin. Ursula K Le Guin. Jalal Al-Din Rumi.
- The Mind and Art of Calderón: Essays on the Comedias - Alexander Augustine Parker - Google книги?
- THE NUTCRACKER. José Carlos Martínez's Repertoire in the Escorial.
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A E W Mason. Junot Diaz. Aldous Huxley. Giovanni Boccaccio. Franz Clemens Brentano. Henry David Thoreau. Sir Arthur Conan Doyle. Bruce Chatwin. David Stuart Davies. Gustav Wrangel. Cardinal John Henry Newman.
The Mind and Art of Calderón: Essays on the Comedias - Alexander Augustine Parker - Google книги
Jim Haynes. Thomas A. Dorothy Wordsworth. Werner Sonne. Joan Didion. Masashi Matsuie. Philip K. Bestselling Series. Harry Potter. Julian Weiss. It was first printed in , in the Segunda Parte of his plays. It is, rather, recast in theatrical terms. Barclay f. The conundrum can be answered only by some authorial signal sent from beyond the grave. However enigmatically, Argenis speaks to us but as it does so it demands something in return.
His skillful rhetoric brings Argenis to life and, in the process, animates readers themselves, forcing them to respond critically and creatively and to reflect upon the contingency and limitations of their own readings. Ya en las consultas de Cupido da su voto el govierno. And how do politics find a space in amorous sweet-talk?
To suggest that the business of lovers and ministers is compatible is to recognize not only that those who hold office are human, and thus prone to desire, but also, and more profoundly, that there is a reciprocal link between love and the state. No manuscript survives. I return to the significance of the Segunda Parte below. Davis shows that both Spanish translators used the second Paris edition of Argenis, which includes important editorial revisions to Book II, concerning the treatment of heretics The decade the termini a quo and ad quem of the adaptation saw him promote and consolidate his literary and social status, culminating by in royal patronage, knighthood in the Order of Santia- go, and the publication of the first two Partes of his plays.
The most obvious task was to simplify the plot and prune its cast of characters in such a way as to preserve a sense of narrative complexity without losing dramatic impact and concision. Although we may speculate upon its political motives, the dramatic effect of the cut is what matters here. Thus, the plot now turns upon the familiar device of a love triangle —between Argenis, Poliarco and Arcombroto— and the twists and turns occasioned by this amorous rivalry now weave their way through a much simplified representation of political instability.
However, to achieve its own specific effects, a three-act comedia has no need to reproduce the narrative range and structure of a Byzantine romance: reducing the complexities of the novel intensifies, rather than diminishes, the theatrical impact of the twin themes of love and politics and sets into sharper focus the interplay between them as two forms of intrigue and desire.
Needless to say, translating Barclay for the Spanish stage entailed more than simplifying its plot for heightened theatrical and thematic effect. The Latin edition published in Segovia lacks this interpretative key, though it does have an index. I return to some of her insights below. His translation sieves out the politics, and the residue is a drama of amorous intrigue, a comedia palaciega.
El galán fantasma
Moreover, his version of Barclay shares a whole range of motifs with other early palatine dramas: noble or royal protagonists, frequent foreign locations, role playing, often to escape perceived injustice at court, hidden lineages revealed through tokens, the in- terweaving of amorous and political intrigue. In Argenis y Poliarco, the political actions that drive the plot —rebellion, assassination attempts, war— are pushed off stage, but this is where, paradoxically, they produce their most powerful theatrical effect.
And for this, he needs to exploit both real and imagined theatrical space. Arcombroto: Dejadme en ella solo, que en esta selva consagrada a Apolo 8. For an excellent overview, with ample bibliography, see Bass Dentro: En paz te queda. There is nothing at all unusual in beginning a play with a protagonist emerging from a world of warring elements.
But here the convention will acquire a specific resonance for a play in which what we see and hear are in constant movement and constantly interrupted by events elsewhere. The initial setting, the shoreline, becomes a symbolic threshold. Lines These two men pause to identify themselves. But before he can answer, Timoclea interrupts: she invites them to her estate and, having described the path they are to follow, she departs to prepare for their arrival For what we have witnessed up to this point, and what we shall continue to witness in a variety of modes and formats, is a sequence of words and movements on and off stage that constitutes a structure for the entire play: a theatrical world of lives and journeys, whether seen or described, that are forever interrupted, intersecting, bifurcating, a world of unsynchronized action, a world of untimeliness.
Visual and verbal comedy combine, as Gelanor gives a mock heroic account of his inept and cowardly conduct in the recent offstage struggle Appearances, secrets, manliness the phallic pistol stuffed down his pants , and, above all else, chasing after the action are crucial themes in a play in which the protagonists can never keep up with what happens around them. As we read the script, the brief scene appears to be static, a comic pause in the action. But when Poliarco and Arcombroto resume their conver- sation, we realize that at least part of it must have taken place while the three men were walking across the stage through the imagined forest.
For reasons that will become clearer I think he has grasped only one part of the dialectic of structured chaos.
Meaning of "galán" in the Spanish dictionary
And yet, like a grotesque figure drawn in the margins of an illuminated manuscript, Gelanor also provides a comic gloss on the untimeliness of the two companions striding through the forest. That Poliarco has been overtaken by events is clear from the news brought back by Gelanor : the fires have been lit for him, and a mob is in And how does Gelanor know all this?
In response to these rumours held as public truths, Timoclea devises a counter rumour that Poliarco has drowned while trying to escape. At this point, an incredulous Gelanor asks why not just reveal the truth and tell everyone you are the French Dauphin ? Poliarco cuts him short, curses his stupidity, and stalks off. The first scene closes with Gelanor putting the two plans into action.
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