Examinando por Autor "Breden, Simon"
Mostrando 1 - 6 de 6
Resultados por página
Opciones de ordenación
Ítem Deciphering memory through private and public identities in Alfredo Sanzol’s En la luna (2011)(Vernon Press, 2022) Breden, SimonThis dramatic work composed of fifteen vignettes explores the tense dialogue between personal memories and public history. En la luna not only examines the legacy of the Spanish Civil War, Francoism, and the Transition but also interlaces these events with autofictional elements drawn from Sanzol’s own life and memory. This study is a timely reminder of the importance of historical memory on the micro, familial level, and to emphasize this, Sanzol presents these stories from the viewpoint of children and families rather than focusing on the historical events themselves. As a result, the play is centered around the significant human toll that Spain’s unresolved past continues to have on its unsettled present.Ítem Federico García Lorca(Routledge, Taylor & Francis Group, 2025) Breden, SimonLauded as one of the most important poets and playwrights of the twentieth century, Federico García Lorca was also an accomplished theatre director with a clear process and philosophy of how drama should be staged. Directing both his own work and that of others, Lorca was also closely involved in the rehearsals for productions of many of his plays, and from his own writings and those of his collaborators, a determined agenda to stimulate audiences and renovate theatre can be seen. This is the first book in English to fully consider Lorca as a director and his rehearsal methodology. The book combines: - A biographical account of Lorca’s work as a director and rehearsal leader, revealing his techniques and methods of approach texts; - An exploration of his key writings on and around theatre, drawing on his talks, play introductions, and some of the dramatic works themselves; - The first translation into English of his fragment Dragón; - A detailed discussion of Lorca’s key productions, Lope de Vega’s Fuente Ovejuna (1933) for La Barraca, and his own Yerma (1934). - Specific focus on the practical applications that we can draw from Lorca’s methods, both from what survives of his own work and from the accounts of his close collaborators.Ítem Fuegoártico: a beautiful defeat: Jeremy James and the creation of an ensemble methodology in Madrid, 2014(Liverpool University Press, 2023-07) Breden, SimonDuring 2013–2014, Jeremy James (Théâtre du Soleil) attempted to form a large ensemble company, fuegoártico, to adapt the works of Anton Chekhov with a young cast in Madrid, Spain. In the end, only a work-in-progress showing of The Cherry Orchard, retitled Árboles 1.0,¹ was seen for a handful of sold-out performances at the now-defunct Kubik Fabrik² space in Usera, Madrid. One might wonder why it is worth discussing a project that was seen only in free work-in-progress³ showings held at a 100-seat fringe venue. In many ways, it was extraordinary enough that the fuegoártico project made it that far....Ítem The influence of british directors on the Fundación Siglo de Oro and its productions of early modern drama, 2007-2021(Universidad de Alicante / Universitat d'Alacant, Departamento de Filología Inglesa, 2022-07-27) Breden, SimonThe Fundación Siglo de Oro –formerly Compañía Rakatá– has been staging Spanish Golden Age and Elizabethan theatre since it was founded in 2006. Over this time, the company has developed an identity associated not only with its staging of early modern drama, but also with the influence of a series of contemporary British theatre practitioners on its rehearsal process. Perhaps one of the most noteworthy constants in its work is a fruitful series of collaborations with British stage directors, beginning in 2007 with Laurence Boswell directing El perro del hortelano (revived in 2014), in 2009 Fuenteovejuna, and in 2015 co-directing Mujeres y criados with company founder and producer Rodrigo Arribas. While, at first, we can ascribe this collaboration to the impact of the Royal Shakespeare Company Golden Age season, curated by Boswell, which visited Madrid’s emblematic Teatro Español in 2004, the company have continued to seek out British directors including Tim Hoare on Don Juan en Alcalá (2016) and Trabajos de amor perdidos (2016), and most recently Dominic Dromgoole on a new production of El perro del hortelano (2021). This latter partnership is also the culmination of a collaboration with Shakespeare’s Globe Theatre which saw the company take part in the Cultural Olympiad with Enrique VIII (2012) and become the first company to perform Lope de Vega in Spanish at the London theatre, with El castigo sin venganza (2014). There has therefore been a clear exchange of ideas between Spanish classical theatre and contemporary British theatre practice. This article proposes to explore the methodological contributions of British directors to better understand how this has altered the in-rehearsal perspectives on the Spanish Golden Age to explain the benefits of this Anglo-Hispanic collaborative approach to the company’s work. This will be supported by an interview with Rodrigo Arribas, whose constant presence as founder, producer, actor and most recently as director can help us to understand the contributions made by Boswell, Hoare and Dromgoole to the company’s rehearsal methodology.Ítem Power, politics, and comic theatre: political satire as dissidence in La torna and Ubú president by Els Joglars(Peter Lang Publishing Group, 2022-12-19) Breden, SimonÍtem Spain(Taylor and Francis, 2023-08-24) Breden, SimonThis chapter examines some of the most noteworthy theatrical currents in Spain since 1989. However, defining Spanish theatre as a single entity in the present day is an impossible task, given the sharpening identities of regional theatres working in languages other than Spanish, including the co-official languages of Catalan, Basque, and Galician. For this reason, this chapter will not only focus on the two most internationally recognised hubs of Madrid and Barcelona but will also consider the Basque Country, Galicia, and Andalucía. Overall, theatre and performance in Spain continues to grapple with the consequences of the transition from dictatorship to democracy.