Painting on Stage: Visual Art in Twentieth-Century Spanish Theater

By Elizabeth Drumm | Go to book overview

Notes

INTRODUCTION

1. Cited in Dougherty, Un Valle-Inclán olvidado, 264. For discussion of the cinematographic elements in Valle-Inclán’s theater see: Rafael Osuna, “El ‘guión cinematográfico’ de Valle-Inclán: Luces de bohemia”; Rodolfo Cardona and Anthony Zahareas, Visión del esperpento: Teoría y práctica en los esperpentos de Valle-Inclán; Donna McMahon, “El montaje como técnica retórica en la obra de Valle-Inclán.”

2. Cited in Dougherty, Un Valle-Inclán olvidado, 264–65n. 303.

3. These works represent only a fraction of the dramas that represent painting on stage that were written during the twentieth century. In her article “Ekphrastic Theatre and the Contemporary Stage,” Phyllis Zatlin lists authors and works that include Francisco Nieva, Salvator Rosa o El artista (1988) and Carroza de plomo candente (1976); Luis Riaza, Retrato de dama con perrito (1979); and Fernando Arrabal, Concert dans un oeuf(1958). Other works by authors discussed in this book include, for example, López Mozo, Blanco en quince tiempos, Negro en quince tiempos, and La infanta de Velázquez; and Buero Vallejo, Llegada de los dioses and Diálogo secreto.

4. Alberti, La arboleda perdida, 100–116.

5. Glibota, Arrabal espace, 22–23.

6. Barea lists the following theater productions: Fernando Arrabal, Guernica (1958); Jerónimo López Mozo, Guernica (Happening) (1969); Luis Haranburu Altuna, Gernika, drama historikoa (1983); Martín Elizondo, Picasso reino milenario (1986); Francisco Torres Monreal, Guernica y después (1987); Toni Pasqual, El Gernika(1991); Ignacio Amestoy Egiguren, Gernika, un grito, 1937 (1993); J. L. Davant, Aguirre Presidenta (1995); and performance pieces by Kukubiltzo and Maskarada (1987), 583.

7. Valle-Inclán, Luces de bohemia, 162.

8. See, for example, the prologue to Valle-Inclán’s esperpento, Los cuernos de Don Friolero (Don Friolero’s Horns).

9. The representation of painters and painting, and the use of ekphrasis in particular, was prevalent in Spanish Renaissance theater. See Frederick de Armas, ed. Writing for the Eyes in the Spanish Golden Ageand Ekphrasis in the Age of Cervantes; and Sharon Vosters, “El intercambio entre teatro y pintura en el siglo de oro español.”

10. See, for example, Gayana Jurkevich, In Pursuit of the Natural Sign: Azorín and the Poetics of Ekphrasis and Margaret Persin, Getting the Picture: The Ekphrastic Principle in Twentieth-Century Spanish Poetry.

11. The definition is that of James Heffernan, Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery, 3.

-163-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited page

Bookmark this page
Painting on Stage: Visual Art in Twentieth-Century Spanish Theater
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved from this book
  • Bookmarks
  • Highlights & Notes
  • Citations
/ 198

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Search by... Author
    Show... All Results Primary Sources Peer-reviewed

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.