<i>Del actor medieval a nuestros días. Actas del seminario celebrado los días 30 de octubre al 2 de noviembre de 1996, con motivo del IV Festival de Teatre i Música Medieval d'Elx</i>, and: <i>Teatro medieval, teatro vivo. Actas del seminario celebrado del 28 al 31 de octubre 1998, con motivo del V Festival de Teatre i Música Medieval d'Elx</i> (review)
Charlotte Stern
Reviews Del actor medieval a nuestros días. Actas del seminario celebrado los días 30 de octubre al 2 noviembre 1996, con motivo IV Festival Teatre i Música Medieval d'Elx. Ed. Josep Lluís Sirera. EIx: Institut Municipal Cultura, 2001. 214 pp. No ISBN Teatro medieval, teatro vivo. 28 31 1998, V Ed.Josep 283 These proceedings from the fourth and fifth Festivales d'Elx represent substantial contribution to growing body of research on theater. The 1996 describes actors acting in Middle Ages variety perspectives. most extensive informative essays, Evangelina Rodriguez Cuadros's "Del histrión barroco: La rehabilitación gesto" (15-47), traces changing styles across centuries. Like several other contributors , she ascribes contempt for free, often grotesque, use human entertainment. Eventually exaggerated disorderly style mimi histriones yielded liturgical drama carefully orquestrated series symbolic gestures secular recitations socially determined movements. With Renaissance incarnated characters, using their bodies express emotions that anticipates Stanislavsky method. A second technique was based concept decorum Diderot. Both these were endorsed by baroque theoreticians like Alonso López Pinciano (1596). In "El arte en la cultura medieval" (51-63) Federico Doglio laments incompleteness Aristotle's Poetics, notes Horace's recommendation lose themselves roles, quotes Tertulian's allegation are clutches devil. Their rehabilitation began already Carolingian when singers musicians distinguished scurrilous entertainers who performed with CORC)NiCA 31.2 (Spring, 2003): 327-33 328ReviewsLa corónica 31.2, 2003 bodies. thirteenth century Geoffroi Vinsauf included art recitation his Poetria Nova (1208-1216). "Valores visuales (67-71) Rafael Maestre explains how religious symbolism restricts freedom directors shaping scaffolding, araceli (aerial lift), costumes gestures. For example funereal mask worn impersonating Virgin conceals her face camouflages pain since according Church doctrine died "sin dolor, como dormida" (71). Sirera's "Els atitors teatre híspante l'edat mitjana construcció Tactor ideal" (103-119) underscores differences between thespians modern professional actors. social conventions courtly love limited actors' creativity, but theater performers cast as devils or monsters moved gesticulated wildly because evil associated ugly, ridiculous. "Juglares, actores y bufones: invasión espacio teatral siglos XV XVI" (123-40) Alfredo Hermenegildo states paid did not emerge until sixteenth conditions favorable. participants they controlled "por unas normas ajenas exteriores hecho dramático mismo" (125). fifteenth Miguel Lucas Iranzo both author real space theatrical converged. This blending I might add, also occurred politically motivated Farsa Avila (1465) where unpopular Enrique Castile deposed effigy brother Alonso, played himself, took place (see Mackay). Encina too merged reality whereas half Lope Rueda perceived characters inhabiting separate worlds. Paola Ventrone reviews condemnation "La definizione professionale dell'attore nell'Italia Rinascimento" (143-53), stressing privileged position those recited poetic texts. fine diction placed them in...
La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures