Las hilanderas , the Theater, and a Comedia by Calderon

Las hilanderas , the Theater, and a Comedia by Calderon LAS HILANDERAS, THE THEATER, AND A COMEDIA BY CALDERÓN ANA M. BEAMUD Duke University . . . every great work of art is renewed, not depleted, by time and thus remains forever alive. By the same token, every generation has an obligation to accept the challenge of interpretation as part of the process of revitalization. Jonathan Brown' Ernst Robert Curtius has observed that «only the Spanish theater has a vitalrelafiohship to the great painting of the nation. »' This relationship may perhaps be perceived most clearly in the Spanish Golden Age. Certainly this century presents one of the most famous examples of the interrelationship of these sister arts: Velazquez's La rendición de Breda, a depiction of the final scene of Calderón's El sitio de Breda. Not surprisingly, other paintings by Velazquez seem to have been inspired by the theater as well. For example, comparisons have been made between the lay-out of his masterpiece Las hilanderas and characteristics of the Spanish stage of the time. Indeed, it can be tation, actually depicts an arrested dramatization. Moreover, this dramatization may well have been inspired by a specific play. Pedro Calderón de la Barca's Darlo todo y no dar nada. ' http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Bulletin of the Comediantes Bulletin of the Comediantes

Las hilanderas , the Theater, and a Comedia by Calderon

Bulletin of the Comediantes, Volume 34 (1) – Jan 8, 1982

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Publisher
Bulletin of the Comediantes
Copyright
Copyright © Bulletin of the Comediantes
ISSN
1944-0928
Publisher site
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Abstract

LAS HILANDERAS, THE THEATER, AND A COMEDIA BY CALDERÓN ANA M. BEAMUD Duke University . . . every great work of art is renewed, not depleted, by time and thus remains forever alive. By the same token, every generation has an obligation to accept the challenge of interpretation as part of the process of revitalization. Jonathan Brown' Ernst Robert Curtius has observed that «only the Spanish theater has a vitalrelafiohship to the great painting of the nation. »' This relationship may perhaps be perceived most clearly in the Spanish Golden Age. Certainly this century presents one of the most famous examples of the interrelationship of these sister arts: Velazquez's La rendición de Breda, a depiction of the final scene of Calderón's El sitio de Breda. Not surprisingly, other paintings by Velazquez seem to have been inspired by the theater as well. For example, comparisons have been made between the lay-out of his masterpiece Las hilanderas and characteristics of the Spanish stage of the time. Indeed, it can be tation, actually depicts an arrested dramatization. Moreover, this dramatization may well have been inspired by a specific play. Pedro Calderón de la Barca's Darlo todo y no dar nada. '

Journal

Bulletin of the ComediantesBulletin of the Comediantes

Published: Jan 8, 1982

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