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Don Juan en las tablas / Don Juan on Stage
Wednesday, May 18, 2016 @ 2:30 PM - 5:00 PM
Don Juan en las tablas / Don Juan on Stage
El burlador mítico: renacimiento, barroco y hoy / The Mythical Trickster: Renaissance, Baroque and Today
Coloquio-Taller / Colloquium-Workshop
With roots in the Middle Ages and the Renaissance, the persistent Spanish myth of Don Juan first reaches Madrid’s commercial stage around 1630 in the play, The Trickster of Seville, long attributed to Tirso de Molina. More recently, the faulty/defective [?] text, which nevertheless served Mozart well for his famous Don Giovanni, has been more accurately ascribed to Andrés de Claramonte. A favorite play on the stage for years in the Spanish-speaking world and in the United States, its most recent production in Los Angeles by the Bilingual Foundation of the Arts brought the mythical character to the acclaim of young and old.
This Colloquium-Workshop is organized by Susana Hernández Araico (Professor Emerita, Cal State Pomona and CMRS Associate).
Advance registration not required. No fee. Limited seating.
| 2:30 pm | Susana Hernández Araico (Colloquium Organizer; Professor Emerita, California State Polytechnic University, Pomona) Bienvenida e Introducción/ Welcome and Introduction |
| Session I: Establishment of the Myth in Spanish Theater Chair: Efraín Kristal (Spanish and Portuguese & Comparative Literature) |
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| 2:40 | Marta Albalá Pelegrín (California State Polytechnic University, Pomona) “Tricks and Macabre Dinner Parties: Sixteenth-Century Sources of El burlador de Sevilla.” |
| 2:50 | Alfredo Rodríguez López-Vázquez (Universidad de La Coruña) “El tema del Comendador: agravio y desafío a la estatua en las obras de Claramonte” [“The motif of the Comendador: Affront and Challenge to a Statue in Claramonte’s Plays”] |
| 3:00 | Diálogo / Discussion |
| 3:15 | Descanso / Break |
| Session II: 1600’s Spanish Stage and U. S. Productions in the 20th & 21st Centuries Chair: Jesús Torrecilla (Spanish & Portuguese, UCLA) |
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| 3:25 | Miguel Zugasti (Universidad de Navarra) “Una hipótesis de puesta en escena de El burlador de Sevilla (ca. 1630)” [“A Hypothetical Staging of The Trickster of Seville (c. 1630)”] |
| 3:35 | Darci L. Strother (California State University, San Marcos) “Tan largo me lo filmáis: The burlador in the video archives of the Association of Hispanic Classical Theatre” |
| 3:45 | Diálogo / Discussion |
| 4:00 | Descanso / Break |
| Session III: El burlador en Los Angeles / The Trickster in L. A. Chair: Michael Hackett (UCLA, School of Theater, Film and Television) |
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| 4:10 | Margarita Galbán (Artistic Director, Bilingual Foundation of the Arts) “The March 2016 BFA Production of El burlador de Sevilla“ |
| 4:20 | Scenes by Actors in the BFA March 2016 Production |
| 4:40 | Dialogue between Prof. Hackett and Ms. Galbán followed by discussion |
| The support of the following is very much appreciated: UCLA Center for 17th & 18th Century Studies, UCLA Department of Spanish & Portuguese and Asociación Internacional de Teatro Español y Novohispano de los Siglos de Oro (AITENSO). | |