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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El retablo de las maravillas
These collections, often plagued with inaccuracies and revisions, provided the means to extend the commercial windfalls of the seventeenth-century Spanish theatre beyond the lucrative business of public performance to include the reading market as well. Whatever initially resisted understanding manifests itself in entdemes questions that the first going-through has left open. Even when Cervantes chooses to include traditional, stereotyped characters in his works, he modifies them slightly, often using the type as an agent of novelistic theme.
This original entreems will be performed in Spanish. Last updated on 4 October In Cervantes’ interludes, however, we can easily see a number of concrete examples of these qualities.
Ocho comedias y ocho entremeses
Cervantes’ interludes, in contrast, are more complex and indeterminate. A permanent shift toward novelization in the mainstream short drama would not come at all in the seventeenth century. Yet this must not prevent us from reading these works as pieces of theatre composed originally for the stage. The author’s very mention of wanting in fact, demanding a second reading, or at least a contemplative first reading, signals that he felt their content was capable of withstanding more intense scrutiny than a purely theatrical reception could afford, and that such a reading may be necessary to provide closure.
The Play of Illusion in Cervantes’s Interludes | Vincent Martin –
However, in this case, a veritable chink in the social armor is revealed in the form of the question of honor—”la negra honrilla” —and the widespread fear of being considered illegitimate or of an impure line- age—”dos tan usadas enfermedades” —opens the door to chicanery.
This entremes will be performed in English from a translation. It seems Cervantes the dramatist was never far eentremes from Cervantes the novelist, and his proficiency in the creation of prose fiction helped to enrich his dramatic production as well, in effect making a critical rehablo form out of a previously rough dramatic diversion.
This seems to lax that Cervantes was aware of the novelistic qualities of his interludes, and that they might be well received as reading texts. 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. The spectators of the play within the play are thus given the illusory tools of legitimacy which will enable them to see the non-existent marvels entrees to examine their own questionable consciences.
As some of the earliest examples of novelized drama, Cervantes’ interludes could not function within the definitive constraints imposed on theatrical production by seventeenth-century dramatic conventions.
If Cervantes was able to recognize structural and functional similarities in the interlude and the prose short story, then the publication of his entremeses must have helped this perception to be seen by others as well.
Three Entremeses Cervantinos
Sanz Hermida cites the entry for this idiom in the Diccionario de Autoridades: Cervantes’ novelistic art was apparently not well understood or appreciated in the numerous imitations and appropriations of his drama. The most obvious similarity between the interlude and the novella is their structural brevity. El Juez de los Divorcios Four couples seek a divorce before the judge. 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.
Lane Cooper et al. Once again, the couple seizes upon the gullibility and superstitions of an ignorant community. Clearly, Cervantes had originally intended his plays to be performed on the stage and, therefore, conceived each work initially with this end in mind. Writings on Politics, Society, Psychoanalysis, and the Imagination. Society is self-creation deployed as history. This notion is driven home in Huizinga’s explanation that “[p]lay is battle and battle play” 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.
Please log in or sign up for a free account. Y las comedias tienen sus sazones y tiempos, como los cantares. Therefore, the novelization of other genres does not imply their subjection to an alien generic canon; on the contrary, novelization implies their liberation from all that serves as a brake on their unique development, from all that would change them along with the novel into some sort of stylization of forms that have outlived themselves.
The writing of what we now call literature writing for a reading public is by definition substantially different from composition for the stage, where a number of complex semiotic systems are simultaneously at work.
Multiplicity of language styles is, of course, common in the interlude as a genre, but the fact that Cervantes problematizes language is an important feature related to the process of novelization.
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. This rather curious occurrence, the publishing of plays before they had fulfilled their artistic potential in performance, has led generations of scholars to underestimate the rich theatricality of Cervantes’ interludes.
What, then, is so disturbing about the indeterminacy of Cervantes’ interludes? 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.
The same attitudes and thought processes that formed Cervantes’ creative genius should logically influence both his prose and theatrical texts. When Cervantes published his Ocho comedias y ocho entremeses nuevos, nunca representados inhe essentially readdressed his unperformed drama to a reading public.
Netremes must have thought his dramatic work, if not in demand for theatrical representation, would be suitable as a form of privatized, even didactic, entertainment for a discriminating reader. The Passions ofthe Soul.