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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In contrast, novelistic prose is lax regularly constrained by formulaic structure. Such questions have surrounded the interludes since their initial rejection alongside eight full-length plays by unnamed autores de comedias in the early ‘s. His characters, situations, retabol themes are just as vivid and fascinating in his drama as they are in his novels maravil,as short stories, and perhaps this is why his interludes were not seen as performable in In answering them, one may expect that from the particular elements of significance -in various respects still indeterminate- a fulfilled whole may be established on the level of meaning.
Were Cervantes’ entremeses bad theatre? And like Retablo, this piece also pits the naive against the savvy, worldly wisdom against rustic ignorance, and it takes up the role of superstition in the social imaginary.
The Play of Illusion in Cervantes’s Interludes. A roundtable discussion on this production took place at the????? Cristina quickly takes up this game and plays it with him: This seems to imply that Cervantes was entremse of the novelistic qualities of his interludes, and that they might be well received as reading texts.
El retablo de las maravillas
Both forms are, by definition, short. Edith Hamilton and Huntington Caims. El Juez de los Divorcios Four couples seek a divorce before the judge. Things become violent at the end when a newcomer tells the truth: Into an imperfect world and into the confusion of life it brings a temporary, a limited perfection” Anejos de Rilce Universidad de Castilla-La Mancha, As an aspiring dramatist, Cervantes most certainly understood the demands and practical restrictions placed on the written text by the intended performance, but his instincts as a novelist also affected the character of his drama.
At the same time, this insistence on what Anne Cruz calls “deferring formal closure” expands the boundaries of the play as game, for both characters and spectators.
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. Nevertheless, Cervantes’ drama sometimes has been called excessively traditional, especially when compared to Lope de Vega, whose comedia nueva virtually redefined both the production and reception of the dramatic arts in sixteenth- and seventeenth-century Spain.
As in Cueva and Juez, marriage is depicted in this piece as both play and war agona sense of this sacramental con- tract also pointed out by Huizinga in his study on play: Madrid, Gredos in Spanish. La cueva de Salamanca. The novelization of literature does not imply attaching to already completed genres a generic canon that is alien to them, not theirs.
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 precisely in these plays that made them unacceptable. El Libro de Bolsillo Brevity in the novella, by contrast, seems to be a stylistic concern of the genre, not a practical problem defined by its position within another form of representation.
He must have thought his dramatic work, if maravillas in demand for theatrical representation, would be suitable as a form of privatized, even didactic, entertainment for a discriminating reader.
And I call them social because they are and they exist only if they are instituted and shared by an impersonal, anonymous collective.
Moreover, publication allows the interludes to be examined separately, free from the restraints of their position within the comediaso they can be seen for what they are individually. Pero yo pienso darlas a la estampa, para que se vea de espacio lo que pasa apriesa, y se disimula, o no se entiende, cuando las representan.
The commercial success of Lope de Vega in effect defined a specific set of guidelines for Spanish theatre, requiring relatively simple actions, and presenting characters as the subordinated agents of plot. Vayas, y no vuelvas; la ida del humo” —the audience of Viejo is clearly aware of the reasons for Lorenza’s dissatisfaction with her hus- band. Clearly, Cervantes had originally intended his plays to be performed on the stage and, therefore, conceived each work initially with this end in mind.
As in Cervantes’ prose creations, truth is rendered subjective in the interludes by the dramatist’s novelistic and dialogic stance.
This alone may be one of the primary reasons the autores de comedias rejected Cervantes’ interludes, as his interludes tend to be, on the average, three times the length of contemporary entremeses. Remember me on this computer. Cervantes’ novelistic art was apparently not well understood or appreciated in the numerous imitations and appropriations of his drama. But does Cervantes actually wish to break away from the established genre or rather master it, and thereby receive public acknowledgement i.
Three Entremeses Cervantinos
As Hans Robert Jauss points out, the second reading of a text allows for a more detailed analysis of meaning:. This reference is relevant in that it divulges to the audience the fact that these two con artists pounce on the Achilles heel of shared social values, enfremes this case, gullibility and superstition, in order to make their dishonest living.
The written text, in other words, is determined by its very need entremex stage contextualization, and indicates throughout its allegiance to the physical conditions of performance, above all to the actor’s body and its ability to materialize discourse within the space of the stage. Con los de Cervantes pasa lo contrario. The creative act of making the scenes appear is left to the maravilpas, since the entire enactment is of course a sham.