Genre and type: entremés; Pitch. In this one-act play reminiscent of ‘The Emperor’s New Clothes’, two swindlers trick the townspeople into. Lope de Vega. ~s L retablo de las maravillas is one of the most Asensio, the entremes produces three valid i He has shown us that the Cervantine entremes . The Governor, and his city officials, Petra. Capacho, Juana Castrada, and Benita. Repollo happen upon Chirinos and. Chanfalla. Chanfalla introduces herself as.

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El retablo de las maravillas – Wikipedia, la enciclopedia libre

Princeton University Press, Looking back over the chapters which construct the Retablo ‘s context in the novel, and bearing these aspects of its narrative material and form in mind, we find that the puppet play is set carefully in the midst of an intricate nest of episodes that interpose historical themes and historiographical issues into Cervantes’s text.

As the story of wily narrators trying to pull controlling strings, and of credulous spectator-readers inspired to get into the act, the Retablo evokes parodically national history and its fictionalizations as dialogue, as drama, as an audience-participation game, in late twentieth-century parlance, as interactive medium.

In Cervantes’ version, some rogues arrive in a town to put on an unusual play. The experience of that night in Marigot helped me to revisit Cervantes’s retablos with new eyes. Cambridge MA and London: Last updated on 4 October Manipulators, even parodic ones, are just as likely as their intended dupes to be manipulated by the culturally sanctioned narrative they share.

It was, in any case, one of those moments in which what we think we know about the sacred texts of our tradition is suddenly defamiliarized into mystery.

El retablo de las maravillas

If the representational business of metatheatre revolves around the play of intersecting acts, actors, authors in whose number here we must include Golden Age autores de comedias and levels of reality, its power resides in its capacity to give form to the unspoken lines and the unscripted gestures of the separate players, thereby reciprocally illuminating their worlds.

The other, purely dramatic retablo hereafter Maravillas condenses a veritable festival of metatheatre When Sancho intervenes with his own opinionated commentary and re-presents the rebuzno with his own voice, incensed villages shower him with a hail of stones, a ed reception given by native Americans to their European visitors in the chronicles II, In the Retablo ‘s staging, the ritual triumph of Mars over Venus encounters so many hindrances that it virtually fails to materialize.


Psychoanalytic Perspectives on Cervantes.

The New Harvard Dictionary of Music. Entry written by Kathleen Jeffs. Journal of Hispanic Philology 16 The seemingly unexceptional cast of this repertory notwithstanding, a number of details hint that exceptions rather than rules will be the episode’s main order of business.

In an instant the show is interrupted in the radical sense, the stage and most of the marionettes smashed. Everyone is implicitly called into the act; many try to pull strings, whether for their own ends or for higher purposes; but in the end the story is stronger than any individual teller or hearer.

It is true that Gaiferos’s story rests less comfortably on any real historical support than do other legends whose Spanish heroes are known to have existed.

In the sixteenth and seventeenth centuries, King Rodrigo and his namesakes turn up everywhere. Indecorous notes abound in the Retabloor at least in the running commentary that gives us ekphrastic access to it. At a minimum, I hope to suggest that Maese Pedro’s act still has a great deal to tell us about the complexity of its author’s literary project and about the other acts beyond fiction that Cervantes’s works get into.

Most of these narratological techniques and thematics, Karavillas asserts, Cervantes imports from the romances of chivalry in his parodic imitation. Beyond the work of recovering direct references to New World people, places and events, I have been seeking to understand how the dramatically new perspective afforded by a particular set of historical events and by awareness of a previously unimagined geography alters the agendas, the content and even the forms of literary production in the sixteenth -and seventeenth- century Hispanic world.

Getting into the act, in any fictional work, can never be a matter of characters’ desires alone. Film and photography Design, fashion and illustration Music Performing arts Literature and thought Linguistic heritage. The technological coup accomplished by the printing press, in alliance with social change that made for widespread travel and increasing literacy, and with entremws focus on the human worldly past and present, combined to invest all kinds of historical sources with new interest.

Artist Miguel de Cervantes. It is perhaps just as strange that, in their attention to the parody of pseudo-histories and to the transcendence of Truth, cervantistas regularly pass over the possibility that Cervantes might be engaging, in serious fictional maravllas, not only with the phonies but with the earnest historians of his day What we are invited to witness, in and around chapter 26’s puppet performance, is not idle play with the mechanisms of maraviklas.


What is more, the venta where the performance is to take place is the one to which Knight and Squire repair after the former’s descent to the Cave of Montesinos and the very first inn in all his travels to date that Quixote recognizes as a commercial establishment open to paying lodgers.

In the course of a week’s interlude in the Caribbean, I found myself one evening listening to a Creole band, who were playing to as staid a family audience as ever challenged Chirinos and Chanfalla.

Vintage Books, Random House, On the Margins of Discourse: You must be logged in to post a comment. What, then, are the narrative practices that invite such a reading? From a variety of personal and ideological positions, and often in the face of less than heroic outcomes, conquest chroniclers faced the inevitable question of whether the facts of the conquest lived up to the promises which had launched them.

This section provides access to all the contents in a personalised way, according to your own particular interests and socio-demographic profile. The Governor and his aldermen want to be seen as good cristianos viejosOld Christians of pure blood, untainted by any Jewish or Muslim origin. It is nothing less than the distortion and dissolution of one of Spanish culture’s master narratives. But where he sees, in the author’s alleged desire to distinguish true from sham history, while relishing the overlap of the two orders, a fictional paradox, I find a more ddl contradiction 98 Why would Cervantes choose to give serious lessons about history if he had only fictional play in mind?

Cornell University Press, Too many tellers can inject doubt into any tale.

Visor de obras.

His oft-quoted fel also constitute a referendum on the matter of Don Quixote’s sanity. These various workings exhibit in common the stamp of unreliability.

Why, it is time for us to ask, should fictional representation not be deeply engaged with History? The knight’s tale confronts Sancho and its other listeners with the most serious challenge to credibility they have encountered so far.

In partnership with his trickster surrogate authors, Rel puts the irresistible force of his imagined dance at the service of a scathing, satiric paradox: Eight Interludestrans.