LEADER 03190oam 2200481Mu 450 001 9910831853403321 005 20231110213040.0 010 $a1-00-301140-3 010 $a1-000-76657-8 010 $a1-000-76625-X 010 $a1-003-01140-3 035 $a(CKB)4100000009930946 035 $a(MiAaPQ)EBC5986732 035 $a(OCoLC)1129171335$z(OCoLC)1129395097 035 $a(OCoLC-P)1129171335 035 $a(FlBoTFG)9781003011408 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/63914 035 $a(EXLCZ)994100000009930946 100 $a20191130d2019 uy 0 101 0 $aeng 135 $aurcnu---unuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aBaroque Lorca$b[electronic resource] $eAn Arcaist Playwright for the New Stage 210 $aMilton $cRoutledge$d2019 215 $a1 online resource (171 pages) 225 1 $aRoutledge Studies in Twentieth-Century Literature 300 $aDescription based upon print version of record. 311 $a0-367-82009-9 320 $aIncludes bibliographical references and index. 327 $aCover; Half Title; Series Page; Title Page; Copyright Page; Dedication; Contents; Acknowledgments; Note on Translations; Introduction; 1 The Question of Allegory; 2 Of Human and Puppets; 3 Facing the Audience; 4 Revolution in the Playhouse; 5 Writing for the Stage; Epilogue; Work Cited; Index 330 $aBaroque Lorca: An Arcaist Playwright for the New Stage defines Federico Garca Lorca's trajectory in the theater as a lifelong search for an audience. It studies a wide range of dramatic writings that Lorca created for the theater, in direct response to the conditions of his contemporary industry, and situates the theory and praxis of his theatrical reform in dialogue with other modernist renovators of the stage. This book makes special emphasis on how Lorca engaged with the tradition of Spanish Baroque, in particular with Cervantes and Caldern, to break away from the conventions of the illusionist stage. The five chapters of the book analyze Lorca's different attempts to change the dynamics of the Spanish stage from 1920 to his assassination in 1936: His initial incursions in the arenas of symbolist and historical drama (The Butterfly's Evil Spell, Mariana Pineda); his interest in puppetry (The Billy-Club Puppets and In the Frame of Don Cristbal) and the two human' farces The Shoemaker's Prodigious Wife and The Love of Don Perlimpln and Belisa in the Garden; the central piece in his project of impossible' theater (The Public); his most explicitly political play, one that takes the violence to the spectators' seats (The Dream of Life); and his three plays adopting, an altering, the contemporary formula of rural drama' (Blood Wedding, Yerma and The House of Bernarda Alba). 606 $aBaroque literature$xInfluence 610 $aLorca, Perfomance Studies, Literary Criticism 615 0$aBaroque literature$xInfluence. 676 $a868.6209 700 $aPe?rez-Simo?n$b Andre?s 801 0$bOCoLC-P 801 1$bOCoLC-P 906 $aBOOK 912 $a9910831853403321 997 $aUNINA