ría Guerrero theatre in Madrid. Text re- stant, his works, in consequence, giving full cast by Juan Germán Schroeder. (Spa. Cult. recognition to Portuguese deeds of valor and subject moderately well, restricting the meanCult. Ind., No. 184). Tirso's El condenado por desconfiado at ing of humanism to the study of hörnern the Théâtre de l'Alliance Française (Paris), como hörnern with no implication of knowledge of the classics. For his discussion of the in French. (Spa. Cult. Ind., No. 184). playwright's attack on religious fanaticism, Tirso's Don Gil, translated by Hans he draws on the letter written to D. Joáo Schlegel, during the current season at the III in which Vicente objected to the clergy's Stadttheater in Bonn, Germany. (Courtesy exploitation of the populace's credulity, reA.G.R.). futed the belief that such catastrophes as Lope's Amar sin saber a quién, at the Thé- earthquakes are God's punishment of manâtre de l'Alliance Française (Paris), in kind, and censured the priests for making French. (Spa. Cult. Ind., No. 184). false prophesies. Gil Vicente's wish to see Lope's El anzuelo de Fenisa, at the Ma- the expansion of faith and empire was con- by pupils of the Fort Peralta Academy. (Spa. ueira da Foz, 1961, pp. 29, develops the âtre de l'Alliance Française (Paris), acted Das grosse Welttheater. Festspiele Melk (Austria), 1961. Lope de Rueda's Las aceitunas at the Thé- in its series for the current season in the Estufa Fria. do Humanismo na Obra de Gil Vicente, Fig- Reis Brasil's monograph As Determinantes hold interest for actor and public. The act- 1002, and recall the names of such dising group of the Sindicato dos Empregados tinguished scholars as Sanches de Baena, de Escritorio do Distrito de Lisboa, which Braamcamp Freiré, Michaelis de Vasconcelos, glory. He earnestly desired that man be purified of wickedness, observing that works not words lead to salvation while speaking out against deceit, hypocrisy, cynicism, vanity, etc. In passing judgment on youths and Lope's Câinele gradinarului (El perro del simple shepherds, whom he held to be good by hortelano), at the Teatru Municipal, Bu- nature, he showed kindness, even benignity. charest, Roumania, 1950-60 (!!). (Court- He attacked the clergy's depravity, the granting of indulgences and jubilees, and other esy A.G.R.). like practices. "O humanismo vicentino exige que o hörnern seja hörnern, gozando de todas e procurando servirGil Vicente in Portugal as suas qualidades inatashörnern melhor." se délas para tornar o Reis Brasil accepts wholeheartedly the by sweeping assertion that few are the studies Harvey Johnson of Vicente's theatre and that almost all of Indiana University these are of little significance. To contradict Interest in Gil Vicente's theatre con- such a declaration, one needs only to cite the tinues unabated in Portugal. His autos still Bibliografia Vicentina, Lisboa, 1942, pp. Ind., No. 182). Lope's El caballero de Olmedo, at the Théâtre de l'Alliance Française (Paris), in French version by Henri Gilabert. (Spa. Cult. Ind., No. 184). June 4 in the D. Maria Theatre tre Breve more, Reis Brasil would have profited conSumario da Historia de Deus. It was staged siderably for his study from a careful readwith the beautiful scenery of Lucien Donat ing of such enlightening books as Oscar de and directed by Pedro Lemos. The Teatro Pratt's Gil Vicente, Lisboa, 1931, and F. E. Popular de Lisboa has begun rehearsals for its Tejada Spínola's As Idéias Políticas de Gil production of Auto da Alma, the fourth play Vicente, Lisboa, 1945. calls itself "Proscenium," performed on Brito Rebelo, A. F. G. Bell, et al. Further-
Bulletin of the Comediantes – Bulletin of the Comediantes
Published: Jan 8, 1961
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