La Odisea, escrita por el poeta griego Homero, es una de las grandes epopeyas de la literatura clásica. Narra el épico regreso de Ulises a su hogar en Ítaca tras la caída de Troya, enfrentándose a numerosos desafíos y aventuras, como los cíclopes, las sirenas y la diosa Circe. A través de sus peripecias, se exploran temas de heroísmo, astucia, lealtad y el anhelo de hogar. Esta obra fundamental ofrece una visión fascinante de la mitología griega y ha influenciado profundamente la literatura occidental.
Newly repackaged, three plays by Federico Garc a Lorca
In these three plays, Federico Garc a Lorca's acknowledged masterpieces, he searched for a contemporary mode of tragedy and reminded his audience that dramatic poetry--or poetic drama--depends less on formal convention that on an elemental, radical outlook on human life. His images are beautiful and exact, but until now no translator had ever been able to make his characters speak unaffectedly on the American stage. Michael Dewell of the National Repertory Theatre and Carmen Zapata of the Bilingual Foundation of the Arts have created these versions expressly for the stage. The results, both performable and readable, have been thoroughly revised for this edition, which has an introduction by Christopher Maurer, the general editor of the Complete Poetical Works of Garc a Lorca.The heart of Europe. 1942. Children playing, lovers' tiffs, a deserted train station and a ramp rising towards a hangar. This is what you can see, but what should the Red Cross representative report say?
Way to Heaven has previously been produced at the Teatro Mara Guerrero, Madrid by the Centro Dramatico Nacional. A production of this English translation opened at the Royal Court Theatre, London in June 2005.
Federico García Lorca's plays Bodas de sangre, Yerma, La casa de Bernarda Alba are presented in Cervantes & Co.'s popular format for students of Spanish, introduced and heavily footnoted and glossed by Dr. Timothy P. Reed. The original Spanish of the texts are retained, with an informative introduction, footnotes, and marginal glosses in English. Each play has a Spanish-English glossary specific to the play. These three plays, often referred to as Lorca's Rural Trilogy, were previously available individually from Cervantes & Co. and are available here in a combined, corrected edition.
Con Bodas de sangre, obra en tres actos, escrita en verso y en prosa en 1933, Federico García Lorca se propuso escribir una tragedia en el sentido clásico del término, un género que consideraba la verdadera raíz del teatro.
La obra está ambientada en la tradicional Andalucía -que Lorca convierte en un lugar tan mítico y universal como la Grecia clásica-. Allí una joven enamorada de Leonardo, con quien mantuvo en el pasado una relación, es obligada a casarse con un hombre al que no ama.
Tras la boda se sucede un crescendo de imágenes que anticipan el desenlace fatal de Bodas de sangre. Como en la tragedia clásica, los personajes están sometidos a un destino que se les revela. La realización de sus deseos o de su voluntad, lejos de liberarlos, tan solo parecen apresurar los dictados del destino.
Life Is a Dream is a work many hold to be the supreme example of Spanish Golden Age drama. Imbued with highly poetic language and humanist ideals, it is an allegory that considers contending themes of free will and predestination, illusion and reality, played out against the backdrop of court intrigue and the restoration of personal honor.
In the mountainous barrens of Poland, the rightful heir to the kingdom has been imprisoned since birth in an attempt by his father to thwart fate. Meanwhile, a noblewoman arrives to seek revenge against the man who deceived and forsook her love for the prospect of becoming king of Poland. Richly symbolic and metaphorical, Life Is a Dream explores the deepest mysteries of human experience.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.El conde Partinuplés (1653) fue la comedia más célebre de Ana Caro Mallen de Soto. Es una comedia de enredo caballeresca sobre las leyendas artúricas y carolingias, con grandes efectos especiales, donde la escritora demuestra su dominio de la escenografía.
Se trata de una comedia, ubicada en Constantinopla, en Francia y en ciertos lugares imaginarios (como un castillo encantado). Aquí se intenta recrear el mundo medieval propio de los ciclos artúrico y carolingio. Su protagonista es Rosaura, emperatriz de Constantinopla, que debe casarse pero teme a un augurio que afirma que si lo hace sufrirá mil sucesos fatales.
Pasado un tiempo, Rosaura se enamora del conde de Partinuplés, que está comprometido con otra. Y a través de una cómplice le hace llegar un retrato suyo que seduce al joven conde. La pieza tiene un final feliz en el que Rosaura consigue casarse con su amado.
El personaje del conde Partonopeus, en castellano Partinuplés, fue célebre durante el medioevo. Se conocen varias versiones de su historia casi todas francesas. Sin embargo, en ésta sorprende el papel activo que Ana Caro da a Rosaura en el juego amoroso.
El conde Partinuplés es una pieza dramática cuya conseguida espectacularidad requiere grandes alardes de luces y tramoya. Ello la aproxima a la comedia de magia que tanto gustará a finales del XVII y comienzos del XVIII.
En ella, y a pesar del tributo rendido al mundo caballeresco, las mujeres llevan todo el peso de la acción, para reducir a los personajes masculinos al papel de meros comparsas, siempre sujetos a todas las decisiones de las protagonistas, mujeres combativas y racionales
De toda la producción literaria de esta autora, solamente han llegado hasta nosotros dos comedias una de enredo, Valor, agravio y mujer, también publicada en Linkgua, y El conde Partinuplés. Una loa, un coloquio sacramental, cuatro relaciones y cinco poemas sueltos.
Generally credited as the creator of Don Juan, one of the most famous characters in literature, Tirso de Molina (1580-1648) is largely unknown to English readers. He wrote within an extraordinary literary milieu (the Spanish Golden Age--Velazquez, Ribera, Cervantes...) and left his own mark.
This book presents three of his best known works, never before translated in one collection: the Don Juan play, a theological play and a court comedy.
Don Juan is recognized as a masterpiece of psychological portraiture and has been the subject of countless analyses, and diagnosed as a misogynist, a repressed homosexual, a misanthrope, a narcissist. However he may be interpreted, the reader senses that in Don Juan, Tirso was probing a dark area of the human spirit.
The playwright is known for his realistic and penetrating psychological portraits of women. His female characters are forceful, cunning, witty and courageous, and their frank and unabashed sexuality is striking for the age--so much so that Tirso was censured and eventually banished from Madrid.
Punishment without Revenge is a dark and thrilling drama, an audacious blend of unbearable tension and delicious comedy, which both terrifies and delights. Regarded as the greatest tragedy of the Spanish Golden Age and the finest play of its presiding genius, Lope de Vega, this elegant work is set in the dangerous and glamorous world of Renaissance Italy. The Duke of Ferrara has lived a wild and unconventional life.
An infamous womaniser, his only son, Federico, is a bastard whom he dreams will one day succeed him. When his subjects demand that he marry and provide them with the stability of a legitimate heir, the proud and beautiful Cassandra, Duchess of Mantua, is sent to be his bride. But everything does not fall happily into place. A passionate love develops - but not between the Duke and his Duchess - and, in a culture where honour is the highest virtue, there can be only one outcome...This new translation of Valor, agravio y mujer brings Ana Caro's stirring tale of a woman's courage to an English speaking audience.
Written by one of the Spanish Golden Age's most accomplished female playwrights, Ana Caro's The Courage to Right a Woman's Wrongs is a comedy of wild intrigue and lively ingenuity in which Leonor crosses geographical boundaries and defies social expectations of gender in order to bring her fickle lover, Juan, to justice and restore her lost honor.
This volume is part of the Diversifying the Classics project at UCLA, which seeks to foster awareness and appreciation of the Hispanic Golden Age and give theater professionals the materials and tools to explore its rich tradition.
Arguably Spain's leading playwright of the twentieth century, Antonio Buero-Vallejo published thirty original plays. In the Burning Darkness was the first play he wrote. The seminal, and lasting, significance of this play was confirmed when an extract from it was read over Buero-Vallejo's grave on the day of his burial.
In the Burning Darkness describes a teaching centre for young people who are blind, where a false unity is maintained by a mixture of fear, coercion and diversion where, when persuasion fails, violence is resorted to, and where education is seen to play a part in the regime's ideological apparatus and to encourage the acceptance of pleasant and reassuring myths. The play's principal protagonist is Iggy who, although blind like his classmates, is immediately seen to be different from the others because he carries a cane. When Iggy makes a move on Jane, part of the Centre's golden couple with her boyfriend Charles, he begins to challenge and destabilise the values cherished by the Centre.
Buero-Vallejo described In the Burning Darkness as a work loaded with future, and that observation points the way to why it is being translated now. Although it emerged in 1950 onto a dreary and trivial theatre scene in Francoist Spain, its themes, such as blindness and anxiety of an alienated protagonist, can speak to modern audiences and have a universal, rather than merely parochially Spanish, resonance. It poses a transcendental question about whether or not violence can ever be justified. The teaching centre and the blindness of those within is symbolic of post-Civil War Spain, where anti-democratic abuses were overlooked. The play operates on literal, political and philosophical levels.
Challenging audiences and seeking hopefully to change mind-sets was the stock in trade of Antonio Buero-Vallejo as a dramatist. As he once stated himself: Se escribe porque se espera (One writes because one hopes).
La Odisea, escrita por el poeta griego Homero, es una de las grandes epopeyas de la literatura clásica. Narra el épico regreso de Ulises a su hogar en Ítaca tras la caída de Troya, enfrentándose a numerosos desafíos y aventuras, como los cíclopes, las sirenas y la diosa Circe. A través de sus peripecias, se exploran temas de heroísmo, astucia, lealtad y el anhelo de hogar. Esta obra fundamental ofrece una visión fascinante de la mitología griega y ha influenciado profundamente la literatura occidental.