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The Tangible/Intangible Dialectic in La dama duende: A Critical Appreciation of the CNTC's 2017 Production
- Author(s):
- Eduardo Paredes Ocampo (see profile)
- Date:
- 2019
- Group(s):
- Early Modern Academies of the World, Early Modern Theater, Renaissance / Early Modern Studies, Spanish Golden Age Literature
- Subject(s):
- Spanish drama, Seventeenth century, Performance art--Study and teaching, Renaissance, Reformation, Europe, Sixteenth century, Art, Baroque, Theater
- Item Type:
- Article
- Tag(s):
- 17th-century Spanish theater, Performance studies, Calderon, Renaissance and reformation / early modern Europe, Baroque theatre
- Permanent URL:
- https://doi.org/10.17613/b1ed-0736
- Abstract:
- The CNTC’s 2017 production of La dama duende presented the transition between the two main characters’ rooms in the third jornada using two illuminated windows at the rear wall of the stage. The comparison between this rendition and other modern productions reveals two problems in adaptation: the fidelity with the original and the understanding of contemporary audiences. In contrast, textual analysis sets the main aspects in which original performance was based. The work highlights the centrality of the tangible/intangible dialectic in connecting the many elements of play: the set, the theme, and the audience’s spatial cognition. Synecdoche (in the vestuario) was a featured tool in the audience’s conception of space of the corral. By changing the usage of this trope for the windows solution, the CNTC’s version failed to address the tangible/intangible dialectic of Calderón’s original. Consequently, the adaptation disregarded both the tradition and the public’s participation in the performance.
- Metadata:
- xml
- Status:
- Published
- Last Updated:
- 1 year ago
- License:
- All Rights Reserved
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