Mito, tragedia y metateatro en el teatro espanol del siglo XX : ensayo sobre el cuerpo y la conciencia en el drama

RÉSUMÉMythe, tragédie et méta-théâtre sont des termes techniques provenant de disciplines comme l'anthropologie, l'histoire, la théorie et la critique littéraires. Malgré le fait que l'on puisse les assigner à des périodes historiques déterminées, ce sont des notions qui ont encore un sens à la fois actuel (elles sont indispensables pour comprendre le théâtre contemporain) et concret (à travers les différentes poétiques qui les reconfigurent, elles affectent le spectateur d'une certaine façon, ont un effet déterminé sur son corps et sa conscience). Je propose donc de les définir synthétiquement en fonction de l'effet qu'ils produisent sur le spectateur qui est conçu comme une unité de corps et de conscience. Le corps étant défini comme le lieu des émotions, la conscience sera la connaissance que le sujet acquiert de soi et du monde en fonction de ces émotions. Or, le mûthos génère des émotions que la tragédie purge à travers le phénomène de la catharsis. En revanche, le méta-théâtre interrompt le processus émotif de la conscience. Tout en appuyant mes définitions sur des notions de psychologie, neurologie et physique quantique, j'oppose tragédie et méta-théâtre de la façon suivante: la tragédie produit une forme de conscience incarnée chez le spectateur, alors que le méta-théâtre n'aboutit qu'à une forme de conscience cartésienne ou vision désincarnée. J'applique ensuite cette conception à une série de pièces importantes de l'histoire du théâtre espagnol au XXe siècle qui comportent toutes une part de réécriture d'un ou de plusieurs mythes. Je constate une généralisation du traitement méta-théâtral de la réécriture, au détriment non du tragique, mais de la tragédie proprement dite. Par conséquent, je diagnostique un déficit d'incarnation dans le théâtre espagnol au XXe siècle.

Drama i espectacle operístic : la dialèctica entre espai i temps en el Parsifal de Herheim i el ritus com a obra d’art del futur

Parsifal és, segons la manera en què es mire, l’excepció dins el llistat de drames musicals wagnerians pel tractament sense precedents que fa de motius catòlics en un lloc i un moment com la recentment unificada Alemanya, on la construcció de la identitat nacional passava per un model social i cultural concret i, per tant, també religiós. Però una òptica diferent ens pot apropar a una ingent quantitat de paral·lelismes entre el model artístic expressat per Wagner en els seus escrits teòrics de joventut i alguns dels elements estètics i ideològics de la seua darrera obra. L’espectacle operístic en l’actualitat continua sent fruit de la societat en què es gesta i per això Stefan Herheim utilitza una visió diacrònica de la recepció d’aquesta obra wagneriana com a un dels motius principals sobre els quals construirà una dramatúrgia densa i meditada en què es durà a terme fins a les seues últimes conseqüències una revisió en clau contemporània del concepte d’obra d’art del futur.

Anorectal malformation and Down's syndrome in monozygotic twins.

Anorectal malformation (ARM) can be divided in high, intermediate, and low forms according to the level of termination of the rectum in relation to the pubococcygeal and ischiatic lines. Patients with Down's syndrome have a high incidence of gastrointestinal anomalies, such as tracheoesophageal fistula, duodenal obstruction, annular pancreas, Hirschsprung's disease, and ARM. In these children, ARM is generally low with or without a fistula. The mode of inheritance of ARM and its genetic relation with Down's syndrome is not known, even if the association (ARM-Down's syndrome) seems not to be coincidental. We describe here a very rare case of monozygotic twins born with the association of ARM and Down's syndrome.

Mourning becomes Electra d'Eugene O'Neill: Èsquil i Plató per a crear un drama fosc?

The fundamental debt of E. O'Neill's Mourning Becomes Electra to Aeschylus, and to a lesser degree to Sophocles and Euripides, has been always recognised but, according to the author's hypothesis, O'Neill might have taken advantage of the Platonic image of the cave in order to magnify his both Greek and American drama. It is certainly a risky hypothesis that stricto sensu cannot be proved, but it is also reader's right to evaluate the plausibility and the possible dramatic benefit derived from such a reading. Besides indicating to what degree some of the essential themes of Platonic philosophy concerning darkness, light or the flight from the prison of the material world are not extraneous to O'Neill's work, the author proves he was aware of the Platonic image of the cave thanks to its capital importance in the work of some of his intellectual mentors such as F. Nietzsche or Oscar Wilde. Nevertheless, the most significant aim of the author's article is to emphasize both the dramatic benefits and the logical reflections derived, as said before, from reading little by little O'Neill's drama bearing in mind the above mentioned Platonic parameter.

Mourning becomes Electra de Eugene O'Neill: ¿Esquilo y la caverna de Platón para crear un drama oscuro?

The fundamental debt of E. O'Neill's Mourning Becomes Electra to Aeschylus, and to a lesser degree to Sophocles and Euripides, has been always recognised but, according to the author's hypothesis, O'Neill might have taken advantage of the Platonic image of the cave in order to magnify his both Greek and American drama. It is certainly a risky hypothesis that stricto sensu cannot be proved, but it is also reader's right to evaluate the plausibility and the possible dramatic benefit derived from such a reading. Besides indicating to what degree some of the essential themes of Platonic philosophy concerning darkness, light or the flight from the prison of the material world are not extraneous to O'Neill's work, the author proves he was aware of the Platonic image of the cave thanks to its capital importance in the work of some of his intellectual mentors such as F. Nietzsche or Oscar Wilde. Nevertheless, the most significant aim of the author's article is to emphasize both the dramatic benefits and the logical reflections derived, as said before, from reading little by little O'Neill's drama bearing in mind the above mentioned Platonic parameter.

The Arts (Music, Arts&Crafts and Drama) as a procedure for learning pre-school content: Grupo Edebé Project

There is nothing as amazing and fascinating as children learning process. Between 0 and 6 years old, a child brain develops in a waythat will never be repeated. At this age, children are eager to discover and they have great potential of active and affective life.Because of this, their learning capacity in this period is incalculable. (Jordan-Decarbo y Nelson, 2002; Wild, 1999).Pre-school Education is a unique and special stage, with self identity, which aims are:attending children as a whole,motivate them to learn,give them an affective and stable environment in which they can grow up and get to be balanced and confident people and inwhich they can relate to others, learn, enjoy and be happy.Arts, Music, Visual Arts and Drama (Gardner, 1994) can provide a framework of special, even unique, personal expression.With the aim of introducing qualitative improvements in the education of children and to ensure their emotional wellbeing, and havingnoticed that teachers had important needs and concerns as regards to diversity in their student groups, we developed a programbased on the detection of needs and concerns explained by professionals in education.This program of Grupo edebé, object of our research, is a multicultural, interdisciplinary and globalizing project the aims of which are:developing children's talent and personality,keeping their imagination and creativity and using these as a learning resource,promoting reasoning, favouring expression and communication,providing children with the tools to manage their emotions,and especially, introducing Arts as a procedure to increase learning.We wanted to start the research by studying the impact (Brice, 2003) that this last point had on the learning of five-year-old childrenschooled in multicultural environments.Therefore, the main goal of the research was the assessment of the implementation of a child education programme attending todiversity in a population of five-year-old children, specifically in the practice of procedures based on the use of Arts (music, arts andcrafts and theatre) as a vehicle or procedure for learning contents in Pre-school stage.Because children emotional welfare was a subject of our concern, and bearing in mind that the affective aspects are of vitalimportance for learning and child development (Parke and Gauvain, 2009), Grupo Edebé has also evaluated the starting, evolving andfinal impact in five-year-old children given that they finish Pre-school education at that age.

Grècia i Egipte en l'origen del drama : el context sagrat

El llibre gira entorn de l’origen del drama com a espectacle. Fa una recerca de les arrels del gènere dramàtic tant a Egipte com a Grècia per observar-ne el context d’origen. Es constata que la música, el teatre i la dansa es vinculaven directament amb els primers drames sacres. Les experiències escèniques egípcies són comparades amb les incipients experiències teatrals gregues, que desembocarien en el naixement de la tragèdia. En aquest bressol, les figures d’Osiris i Dionís fonamenten el relat mític de les primeres representacions teatrals, on es produeix una connexió entre les pràctiques rituals, l'ús del mite com a expressió d'una conducta i la codificació dels seus continguts en un llenguatge escènic. També s’aborden les circumstàncies que van portar les experiències teatrals d'aquestes dues civilitzacions per camins diferents i van permetre assentar les bases del teatre occidental.

Use of drama techniques as a methodology to teach english in infant education by teachers in Catalonia

L’aprenentatge de la llengua anglesa com a llengua estrangera és una oportunitat que cada vegada més escoles de Catalunya presenten a l’etapa d’educació Infantil. La metodologia utilitzada per introduir aquesta llengua és variada en cada cas. Aquesta recerca es centra en l’estudi de l’ús de tècniques dramàtiques com a metodologia per ensenyar anglès a infantil. A partir d’un qüestionari contestat per 129 professors d’anglès de Catalunya s’ha analitzat la percepció que tenen sobre les tècniques dramàtiques i la seva utilització. Els resultats mostren una manca de coneixement general sobre la metodologia.

Mourning Becomes Electra by Eugene O’Neill: Aeschylus and Plato’s Cave to Create a Dark Drama

The fundamental debt of E. O’Neill’s Mourning Becomes Electra to Aeschylus, and to a lesser degree to Sophocles and Euripides, has been always recognised but, according to the author’s hypothesis, O’Neill might have taken advantage of the Platonic image of the cave in order to magnify his both Greek and American drama. It is certainly a risky hypothesis that stricto sensu cannot be proved, but it is also reader’s right to evaluate the plausibility and the possible dramatic benefit derived from such a reading. Besides indicating to what degree some of the essential themes of Platonic philosophy concerning darkness, light or the flight from the prison of the material world are not extraneous to O’Neill’s work, the author proves he was aware of the Platonic image of the cave thanks to its capital importance in the work of some of his intellectual mentors such as F. Nietzsche or Oscar Wilde. Nevertheless, the most significant aim of the author’s article is to emphasize both the dramatic benefits and the logical reflections derived, as said before, from reading little by little O’Neill’s drama bearing in mind the above mentioned Platonic parameter.

Manon Lescaut : a lyric drama in four acts

Oletettavasti sama levytys kuin CD-julkaisussa RCA Victor Gold Seal Opera Series, 60573-2-RG, jossa tosin Plinio Clabassin tilalle merkitty Enrico Campi.

Source and Target Text-Orientation in Drama Translation. An Analysis of Four Translations of William Shakespeare’s Julius Caesar

Tässä pro gradu -tutkielmassa käsittelen lähde- ja kohdetekstikeskeisyyttä näytelmäkääntämisessä. Tutkimuskohteina olivat käännösten sanasto, syntaksi, näyttämötekniikka, kielikuvat, sanaleikit, runomitta ja tyyli. Tutkimuksen tarkoituksena oli selvittää, näkyykö teoreettinen painopisteen siirtyminen lähdetekstikeskeisyydestä kohdetekstikeskeisyyteen suomenkielisessä näytelmäkääntämisessä. Oletuksena oli, että siirtyminen näkyy käytetyissä käännösstrategioissa. Tutkimuksen teoriaosuudessa käsitellään ensin lähde- ja kohdetekstikeskeisiä käännösteorioita. Ensin esitellään kaksi lähdetekstikeskeistä teoriaa, jotka ovat Catfordin (1965) muodollinen vastaavuus ja Nidan (1964) dynaaminen ekvivalenssi. Kohdetekstikeskeisistä teorioista käsitellään Touryn (1980) ja Newmarkin (1981) teoreettisia näkemyksiä sekä Reiss ja Vermeerin (1986) esittelemää skopos-teoriaa. Vieraannuttamisen ja kotouttamisen periaatteet esitellään lyhyesti. Teoriaosuudessa käsitellään myös näytelmäkääntämistä, William Shakespearen kieltä ja siihen liittyviä käännösongelmia. Lisäksi esittelen lyhyesti Shakespearen kääntämistä Suomessa ja Julius Caesarin neljä kääntäjää. Tutkimuksen materiaalina oli neljä Shakespearen Julius Caesar –näytelmän suomennosta, joista Paavo Cajanderin käännös on julkaistu vuonna 1883, Eeva-Liisa Mannerin vuonna 1983, Lauri Siparin vuonna 2006 ja Jarkko Laineen vuonna 2007. Analyysissa käännöksiä verrattiin lähdetekstiin ja toisiinsa ja vertailtiin kääntäjien tekemiä käännösratkaisuja. Tulokset olivat oletuksen mukaisia. Lähdetekstikeskeisiä käännösstrategioita oli käytetty uusissa käännöksissä vähemmän kuin vanhemmissa. Kohdetekstikeskeiset strategiat erosivat huomattavasti toisistaan ja uusinta käännöstä voi sanoa adaptaatioksi. Jatkotutkimuksissa tulisi materiaali laajentaa koskemaan muitakin Shakespearen näytelmien suomennoksia. Eri aikakausien käännöksiä tulisi verrata keskenään ja toisiinsa, jotta voitaisiin luotettavasti kuvata muutosta lähde- ja kohdetekstikeskeisten käännösstrategioiden käytössä ja eri aikakausien tyypillisten strategioiden kartoittamiseksi.