Generation of 1998

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4. The Theatre of Valle-Inclán. Luces de bohemia. Can distinguish four stages in the evolution of his play. Theatre poetic. Is this your first time and it deals with realistic themes. Is refined to almost ridiculous and close to the modernist style of the era. Works from this period include The Marquis de Bradomin or Wilderness of Souls. Theatre and mythic rural environment. Represented by the trilogy of The Comedy Barbarian. Set in a mythical rural Galicia and addresses the issues of lust, violence, debauchery, arbitrariness of the powerful and unheroic. Its main character is Juan Manuel de Montenegro, with great virtues and great faults. Their children, however, embody brutality and degeneration of the breed, will inherit the vices and their actions are dominated by greed, sacrilege, insanity and crime. His father murdered and plundered the house of his mother to death. with Divinas palabras (1920) is anticipated as the theater of the grotesque (discussed below). The farces. To ridicule characters and situations created Valle-Inclán farce, which is a step in the evolution toward the grotesque as it has in antirealist and cartoonish and outrageous situations. This stage the trilogy up Puppet Tablado Education of Princes and La Marquesa Rosalinda. The absurdity. Assumes the maximum contribution of Valle-Inclán the theater. Is the distortion of characters, environments and situations in a way that actually destroys the apparent transforming its image to display it as is and presenting it as something outlandish or ridiculous ("Politicians lie for power, artists lie to tell the truth" Andy and Larry Wachowsky. V for Vendetta). Through this new genre makes an incisive critique of society and the historical period I was living. Valle-Inclán expresses as dramatic vision of the world, and especially the political and cultural degradation of Spain in the early s. XX. With the pain of disappointment, Max Estrella made to say: "Spain is a grotesque deformation of European civilization." When there are no heroes or ideals, the characters become puppets. The main works are lights and the trilogy Bohemia Mardi Gras. Luces de Bohemia. It is one of the most important plays s. XX. It is composed of fifteen scenes. The twelve first place in a single night during which Max Estrella (blind, "hyperbolic Andalusian poet of odes and madrigals), sentenced to starve

having lost his miserable job in a newspaper, through the streets of Madrid with his cowardly and deceitful companion gift Latino Hispalis. The various places that come on the scene show a range of socio-cultural levels: the bureaucracy, the bohemian literary, politics, world trade, prostitution and marginalized populations. The evening ends with the agony and death of Max, Latino Don takes time to steal a lottery ticket that is awarded the next day. Scenes 13 and 14 focus on the wake and burial of Max, and 15 runs in the tavern of Pica Lagartos, where Latino Don spent the benefit of the tenth stolen, while the woman and the daughter of Max, with the terrible hardship economical than waiting, they decide to commit suicide. The Night Journey of the two figures shows a corrupt and mediocre Spain where there is hardly anything from the bright lights of Bohemia, when art and value were authentic and not sold to opportunistic interests. Of all the characters just the Catalan anarchist preserves the dignity of the classic hero. Max himself betrayed his ideals by accepting the money that gives the minister, spent on a dinner and worrying about his wife and daughter. Behind

Luces de Bohemia characters real people are hiding. Max was inspired by the poet Alejandro Sawa, Zarathustra (referring to Nietzsche) is the bookseller Pueyo, Don Gay Pilgrim is the writer Ciro Bayo, Minister of the Interior is the minister of Education July Borrell ... Other characters are named openly as Rubén Darío and another poet modernista.El language is vivid, highly imaginative and verbal wit. There are a variety of records, from the richest and literary to colloquial and even vulgar. In general, each character speaks in accordance with its cultural status, but not always. For example, the prisoner and the child's mother died, to which the viewer is not issued cults, are expressed with a lyrical language that approaches the grandeur of Greek drama. At the same time, other more learned using speech spontaneous expression sainetera and torn. Valle-Inclán often ridicules the characters representing the more educated strata making them talk to a bombastic and pedantic language. Moreover, popular characters use a supposedly educated verbiage parodic intent to ridicule the institutions. Parody, caricature and irreverence make their own puppet characters in the grotesque imagery. Of particular note are the novel's author and literary quotations with which characters and environments characterized subjectively.

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