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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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Visor de obras.

In answering them, one may expect that from the particular elements of significance -in various respects still indeterminate- a fulfilled whole may be established on the level of meaning.

This reference is relevant in that it divulges to the audience the fact that these two con artists pounce on the Achilles heel of shared social values, in this case, gullibility and superstition, in order to make their dishonest living.

Such, indeed, is the only possibility open to a genre that structures itself in a zone of direct contact with developing reality. If not, why were they perceived by both the writer and his contemporaries to be more suitable for reading than theatrical representation? Thus Fuenteovejuna ‘s Comendador is narrowly-defined as a patently vile and dishonourable personage in order to make possible and justifiable his violent demise later in the work.

The same attitudes and thought processes that formed Cervantes’ creative genius should logically influence both his prose and theatrical texts. Furthermore, the very act of printing his interludes creates an entirely new possibility for their reception which otherwise would have been impossible: The last two “hoax interludes” share the common theme of adultery, the first through a pre-planned debauch while the husband leaves home to attend his sister’s wedding, and the second through an impromptu scheme to sneak a man into the house right under the jealous husband’s nose.

A roundtable discussion on this production took place at the????? Most important, as Bakhtin has suggested, is the openendedness of novelized literature.

The information contained within the theatrical piece must be understandable to the one-time theatre-goer, and a series of redundant theatrical codes helps the audience to process the information correctly. Cervantes is best known and justifiably so as the father of the rdtablo novel, who refashioned prose writing to such an extent that future generations of novelists would continue to follow his leads.

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Certainly, the characteristic elements of novelization in the entremeses do not approach the intricacy afforded the novel itself by its length and narrative style. This alone may be one of the primary reasons the autores de comedias rejected Cervantes’ interludes, as his interludes tend to entremed, on the average, three times the length of contemporary entremeses.

Entremes. El Retablo de Las Maravillas. [In Verse. By L. Quiñones de – RETABLO. – Google Books

The novelistic indeterminacy of the Cervantine interlude is thus perhaps too complex to allow the audience to redirect its attention to another work already in progress maravilals following its conclusion. Once again, the couple seizes upon retaboo gullibility and superstitions of an ignorant community. Such irony generates much of the humor in these works; the audience or reader can laugh at the foolishness of the characters as they walk readily into their respective traps, seeming at once to be both gullible and deserving of their impending fate.

But does Cervantes actually wish to break away from the established genre or rather master it, and thereby receive public acknowledgement i.

The initial decep- tion is the one planned out by the cheating wife Leonarda and her lasciv- ious servant Cristina to introduce two men—a sexton and a barber—and their hamper full of food into the home once Pancracio has left for his trip. La Cueva de Salamanca “While the cat’s away, the mice will play,” could be the summary of this story. Furthermore, this broad-based ironic humor allows Cervantes to engage in satirical self-deprecation.

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While the writer of prose fiction can and, indeed, must create a fictional world with verbal imagery and narrative style, the dramatist will also consider the languages of physical gesture and movement, voice quality, spatial relationships, and music, to name but a few. They are creating themselves as they create the fantastic images, shadows reflected on the screen of their social imaginary.


You must be logged in to add tags. The postmodern notion of “social imaginary,” a term coined by Greek-French thinker Cornelius Castoriadis, is a rather alluring concept through which we may approach Cervantes’s interludes in general, and the Retablo in particular, since it not only ties in with play and illusion, but also at the heart of this idea lies the sense of self- creation by a community: In Cervantes’ interludes, however, we can easily see a number of concrete examples of these qualities.

In a brief article that points in the right direction for our undertaking, Patricia Kenworthy synthesizes Cervantes’s interludes thus: Friedman has also pointed out this objective in Cervantes’s dramaturgy: Thrown into the role of puppeteer, with an audience prepared to behold the marvelous spectacle, the student, by manipulating the function of superstition in the social imaginary, now brings the devils out in the form of the sexton and the barber, their faces blackened by the coal.

What is retaglo is the fact that in the figure of the student are fused two inharmonious forms of knowledge, for the celebrated legend of the cave of Salamanca, as a place where black magic was taught and learned, emerged in the fourteenth century as a sort of antidote to the material being taught at the city’s uni- versity see Egido.

Perhaps Cervantes’ Comedias y entremeses continued to be received as reading texts, just like his prose work, throughout the remainder of the seventeenth century and therefore rteablo not influence dramatic composition any more than his other works of non-dramatic nature.

Three Entremeses Cervantinos

Rozas Johan Huizinga’s classic study Homo Ludens: Historia de la Literatura 1. La cueva de Salamanca. The resolution of the student’s deception of the nearly-cuckolded Pancracio in La cueva de Salamanca is never shown.