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Enrique Llovet's Versions of Volpone and Increasing Freedom of Expression in Spain

Enrique Llovet's Versions of Volpone and Increasing Freedom of Expression in Spain PURIFICACIÓN RIBES TNB Calderón de la Barca (1969) Festival de Teatro Clásico de Almagro (1997) Part 2 3. Llovet’s 1997 Version of Volpone State regulations regarding drama experienced a notable evolution in the last decades of the twentieth century: not only was theatre censorship abolished but specific measures were taken to encourage experimentation in visual arts. The Ministerial Decree issued by Culture Minister Solana on 27 May 1985 regarding the Normativa para las Ayudas al Teatro Español clearly voiced this change: “It is the Administration’s responsibility to support the aesthetic experiments prompted by a new social climate of creative freedom that is leading to a renewal of aesthetic trends and staging techniques.”1 It was in this favorable climate that Llovet presented his second, farcical version of Jonson’s Volpone on the Almagro stage on 5 July 1997, at the twentieth Festival de Teatro Clásico. If his previous version was as innovative as an ambiguous interpretation of legal restrictions would allow, this second one was a wholly updated and experimental stagepiece. It developed a number of traits in his 1969 version while introducing some new ones. In particular, Llovet took his Brechtian approach a step further by expanding the metatheatrical http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Ben Jonson Journal Edinburgh University Press

Enrique Llovet's Versions of Volpone and Increasing Freedom of Expression in Spain

Ben Jonson Journal , Volume 15 (2): 194 – Nov 1, 2008

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Publisher
Edinburgh University Press
Copyright
© the Editors, 2008
Subject
PURIFICATIÓN RIBES
ISSN
1079-3453
eISSN
1755-165x
DOI
10.3366/E1079345308000278
Publisher site
See Article on Publisher Site

Abstract

PURIFICACIÓN RIBES TNB Calderón de la Barca (1969) Festival de Teatro Clásico de Almagro (1997) Part 2 3. Llovet’s 1997 Version of Volpone State regulations regarding drama experienced a notable evolution in the last decades of the twentieth century: not only was theatre censorship abolished but specific measures were taken to encourage experimentation in visual arts. The Ministerial Decree issued by Culture Minister Solana on 27 May 1985 regarding the Normativa para las Ayudas al Teatro Español clearly voiced this change: “It is the Administration’s responsibility to support the aesthetic experiments prompted by a new social climate of creative freedom that is leading to a renewal of aesthetic trends and staging techniques.”1 It was in this favorable climate that Llovet presented his second, farcical version of Jonson’s Volpone on the Almagro stage on 5 July 1997, at the twentieth Festival de Teatro Clásico. If his previous version was as innovative as an ambiguous interpretation of legal restrictions would allow, this second one was a wholly updated and experimental stagepiece. It developed a number of traits in his 1969 version while introducing some new ones. In particular, Llovet took his Brechtian approach a step further by expanding the metatheatrical

Journal

Ben Jonson JournalEdinburgh University Press

Published: Nov 1, 2008

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