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Bezig met laden... The Sleep of Reasondoor Antonio Buero Vallejo
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El sueNo de la razOn is an excellent example of Antonio Buero Vallejo's «posibilismo, as the Spanish playwright called his strategy for conveying his strong public denouncements while eluding the Franco regime's censorship. Buero Vallejo centers the action in the pathos of Francisco de Goya, an indisputable icon of the Spanish culture; he delves into the painter's mind and daemons, using Goya's art to transform the play into a «total immersion experience. In this way, he provokes the audience's feelings and leads it to complete the work's message after the curtain's fall. Most of the action takes place in Goya's «Quinta del sordo (the «deaf man's country home), during the Spanish King Ferdinand VII's restoration, (1823) with its subsequent crack down on «freethinkers, liberals and masons. The projected «Black Paintings form a good part of the sparse stage design. Buero Vallejo plays with a sequence of images, conflating Goya deafness with dialogue, paintings and his etchings «Caprichos, «Disparates and «Desastres de la guerra" in order to achieve a strong, univocal form of communication. This edition, with a foreword by Dr. YosAlida C. Rivero-Zaritzky, combines ample footnotes with reproductions of the «Black Paintings inserted in the places prescribed by the author's stage directions. The text thus evokes the theatrical effect intended by Buero Vallejo. An appendix with reproductions of the etchings mentioned throughout the text completes the background information required to fully understand ¬and enjoy this masterpiece of Spanish theatre. Geen bibliotheekbeschrijvingen gevonden. |
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Google Books — Bezig met laden... GenresDewey Decimale Classificatie (DDC)862.64Literature Spanish and Portuguese Spanish drama 20th Century 1945-2000LC-classificatieWaarderingGemiddelde:
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This book was published in 1970, and in it Goya has been deaf for 31 years. Subtracting 31 years from 1970 brings us to 1939. When I realized this, I wondered how much of Franco was in King Fernando, and whether Goya's experience in this play is meant to represent the experience of the Spanish intellectual/artist under the Franco regime. I imagined the artist, haunted by the censors (priest Duaso is a censor in this play) and hesitant to publish or release his works into the world for fear of the repercussions, or because he'd been so beaten down by years of censorship that he knew it was all pointless anyway. Is this play an allegorical representation of the artist's life in Spain after three decades of fascist rule? The internet is not helping me out with information to back up my allegory theory. I thought Google would confirm my suspicions with a simple search. But I read most of the play as an allegory and it never stopped making sense, so I'm going to go on thinking it's so until I'm informed otherwise.
If it is an allegory, and I think it is, it was an incredibly enjoyable one for me because I've been looking at a lot of Goya's artwork this fall. The university here in my hometown has a really good art museum, and they've got original editions of Goya's Caprichos and Los desastres de la guerra in their print collection. The other day I made an appointment to view some of these prints, and I got to see the artist's original handiwork there in person. I wasn't allowed to turn the pages of Caprichos, which they've kept intact in bound book form, but a graduate student helped me page through all the different prints. I saw two different copies of "El sueño de la razón produce monstruos," the print that lends its name to this play. Looking at a book made by Goya more than two centuries ago was a fantastic experience. The viewing led me to this book as well, and reading this play was a pretty solid experience too. It made me want to see those prints again, but I think this time I'll content myself with the virtual versions, rather than request another special viewing. I've got bigger plans anyway: my university also has a second edition of Don Quijote and I'm going to try and view that. Maybe they'll even let me put my hands on that one, but probably not. ( )