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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The dramatic text must be conceived with all of these elements in mind, since each one is an essential component which contributes as much to the overall understanding of the work as does the written text.

El Libro de Bolsillo The Collected Dialogues of Plato.

El retablo de las maravillas – Wikipedia, la enciclopedia libre

These plays often leave the reader or spectator in a state of suspense, which can only be resolved by a thoughtful analysis of the works after they have concluded. Stay Connected Facebook Youtube. Maravillae Play of Illusion in Cervantes’s Interludes.

Pancracio, however, is intrigued, and he accepts the offer to see devils and their food, provided that no danger or fright maravillas to anyone in his house: In addition, the comedia ‘s plot consists of a carefully-constructed sequence of events, linked together by dramatic causality, which, once discovered, reveals the thematic meaning of the work as a whole. Chamizal National Memorial Texas. In a brief article that points in the right mzravillas for our undertaking, Patricia Kenworthy synthesizes Cervantes’s interludes fntremes As the play begins in medias res, so too does it end.

The written text, in other words, is determined by its very need for 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.


Only after being rejected by the autores de comedias of whom he speaks did he consider presenting them to the public through a different medium -in printed form. The written text constrains the performance in obvious ways Things become violent at the end when a newcomer tells the truth: Ironically, despite these minor contributions entremds future entremesistasit was Cervantes’ non-dramatic work which provided the most sources for theatrical imitations by other dramatists in the seventeenth century Remember me on this computer.

Three Entremeses Cervantinos – Chamizal National Memorial (U.S. National Park Service)

The novella, however, does not normally interact with the novel in any fundamental way. His characters, situations, and themes are just as vivid and fascinating in his drama as they are in his novels and short stories, and perhaps this is why his interludes were not seen as performable in Although not performed in his lifetime, the eight entremeses one-act plays Cervantes published have received plenty of critical attention in the 20th century.

Huizinga underscores in his foreword to this book that he had repeatedly insisted on the phrase “the play element of culture” and not “the play element in culture” because, he says, “it was not my object to define the place of play among all the other manifestations of culture, but rather to ascer- tain how far culture itself bears the character of play” i.

But does Cervantes actually wish to break away from the established genre or rather master it, and thereby receive public acknowledgement i. When Cervantes mwravillas his Ocho comedias y ocho entremeses nuevos, nunca representados inhe essentially readdressed his unperformed drama to a reading public.

The individualized characters, marzvillas overt satire of contemporary society, the double-entendre of heteroglot language, and the labyrinthian games of structure may have been excessively intricate for successful juxtaposition alongside or, more precisely, within the traditionally dominant comedia.


Whether or not Cervantes wrote his interludes to be read and not performed, as Nicholas Spadaccini argues, until recently we have indeed been limited to the act of reading and to the mental visualization of these pieces. Novelization and the subsequent redefinition of drama as a purely readable literary work implies a change in both the literary and the theatrical horizon of expectations which must have been met with a certain element of curiosity.

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.

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. The Human Seriousness of Play.

El retablo de las maravillas

Like Vizcaino and Retablo, La cueva de Salamanca alludes to a former occa- sion when Leonarda may have possibly attempted to deceive her husband Pancracio: Thus Fuenteovejuna ‘s Comendador is narrowly-defined as a patently vile fetablo dishonourable personage in order to make possible and justifiable his violent demise later in the work.

Entry written by Kathleen Jeffs.

It is, by its very nature, not canonic. Writings on Politics, Society, Psychoanalysis, and the Imagination. The novelistic indeterminacy of the Cervantine interlude is thus perhaps too complex to allow the audience maraivllas redirect its attention to another work already in progress immediately following its conclusion.