Miguel Calderón de la Barca (1653-1720): biografía y aspectos artísticos

En el presente trabajo se da a conocer a Miguel Calderón de la Barca, figura de relieve por su carrera jurídica, pero sobre todo por las donaciones y legado artístico que enriquecieron el patrimonio cultural de la villa de Conil de la Frontera y el tesoro de la Iglesia Catedral de Cádiz. Los estudios que se habían efectuado hasta el momento eran parciales e incompletos, algo que se ha pretendido subsanar con la aportación de datos inéditos mediante los que recomponer la biografía del personaje, al tiempo que se ha procurado la comprensión y análisis profundo del momento histórico y manifestaciones artísticas ligadas a Calderón. Ha sido preciso recurrir a fuentes de diversa índole para poder cumplir estos objetivos. En la fase heurística de la investigación, realizamos la consulta y recopilación de la documentación manuscrita que se halla dispersa en archivos andaluces y madrileños. En concreto, el Archivo General de Indias es el principal repositorio para lo tocante al nombramiento de Calderón como oidor de la Real Audiencia de Nueva España en 1689 y el desempeño de sus funciones como ministro; el Archivo Histórico Nacional lo es, a su vez, para complementar la información tocante a la provisión de la plaza de toga en el Real y Supremo Consejo de las Indias en 1707. Por último, los archivos históricos de protocolos de Madrid, Cádiz y Conil, y los eclesiásticos –parroquiales, diocesano y catedralicio– de la capital y localidad de la expresada provincia gaditana, han suministrado las noticias útiles de la historia personal y familiar de don Miguel: bautismo, matrimonios, poderes para testar y testamento. No sólo eso. En su acervo hemos descubierto algo más: inventarios de bienes dotales y de la testamentaría –estos con la consiguiente tasación y almoneda–, escrituras de fundación de capellanías y donación de piezas de plata y pintura de señalada importancia a las fábricas de los templos de Conil y de la catedral de Cádiz...

Historia de la dirección escénica en España: Miguel Narros

The year 2013 saw the passing of Miguel Narros, one of the most outstanding men of theatre of recent decades, and a creator to whom we remain in debt today. His extensive legacy deserves a special place in our memory and stands as a subject of study of the keenest interest, in view of the increasing amount of research being done on the discipline of stage direction. The objective of the thesis being presented is to provide an overview of Narros’ work, so as to draw conclusions related to the situation of theatre in Spain throughout the second half of the twentieth century and in the early twenty-first century and to elucidate the director’s poetic conception and a theory of his stage practice. The thesis has focused on the director’s biography —in which work and personal life are closely intertwined—, the artistic and technical credits and dates of his stage productions, the compiling and summarising of a number of reviews in the press, the classification and discussion of the different historical and literary periods dealt with by the director, as well as the poetics of his theatre (his points of reference, his conception as stage director —form and content— and his position on the elements that make up a stage production). Also attached is a selection of photographs of more than half of his stagings (in addition to some of the director himself) which are testimony to his creation and a reflection of a number of the characteristics of his theatre. The study —based on information from the written press, public and private archives (which provided everything from photographs to handbills) and a number of personal interviews, among other sources— reveals a professional whose work transformed, enriched and consolidated the Spanish stage. Indeed, Spanish theatre simply cannot be understood without taking into account Miguel Narros. Narros worked as an actor and immersed himself in the teachings of the figures that populated the theatre world of the mid-twentieth century, such as Jardiel Poncela, Elvira Noriega, José María Rodero, Carmen Seco and, above all, Luis Escobar...

La poesía de Miguel Botelho de Carvalho. Estudio y edición de la "Fábula de Píramo y Tisbe" (1621) y "Rimas varias" (1646)

This doctoral thesis entitled “Miguel Botelho de Calvalho‟s Poetry. Study and edition of Fábula de Píramo y Tisbe (1621) and Rimas Varias (1646)” is born to approach Miguel Botelho de Carvalho‟s (1595-?) life and works. He was a Portuguese poet that lived during the Spanish monarchy reign (1580-1668) and is inexorably referred to in the works of Portuguese poets who wrote in Spanish during the 17th century. The works by this author of which we are certain were written from 1621 to 1646 – namely: an epyllion about the love affairs between Píramo and Tisbe (Fábula de Píramo y Tisbe, Madrid, 1621), a pastoral novel (Prosas y versos del pastor de Clenarda, Madrid 1621), as well as the works printed after his travel to India. This last period includes his narrative poem divided into six cantos, La Filis (1641) and another publication containing two works: a poetic anthology entitled Rimas varias and his approach to drama in Tragicomedia del martir d’Ethiopía (Ruán, 1646). Botelho de Carvalho is constantly being referred to among the critics, above all in general studies about that period. Few of them have delved into the author, nonetheless. The treatment given to writers who are included both in Portuguese and Spanish philosophical streams is still a niche to be explored nowadays and that highly contributes to a deeper knowledge of reality, which is on many occasions not looked at...

Miguel de Cervantes Saavedra y Antonio Buero Vallejo: dramaturgos ejemplares

Esta conferencia es un intento de comprensión de los valores comunes de las tragedias históricas de Cervantes y de Buero. El talante ético de ambos dramaturgos les caracteriza como ejemplares. La conclusión es doble, por un lado, la libertad es el anhelo humano más importante de la vida; por otro, la verdad, la justicia, la igualdad, la solidaridad, el amor y la esperanza son esenciales para ser una persona verdadera. La salvación del hombre está, principalmente, en el arte y en las humanidades.