Thesis advisor: Irene Mizrahi / This study is an analysis of the theatre of the Spanish contemporary playwright Raúl Hernández Garrido. It explores in depth his tragedy Los engranajes and it applies (in a more referential manner) the results of this investigation to the rest of his plays: Los malditos, Los restos: Agamenón vuelve a casa and Los restos Fedra, included in the cycle Los esclavos. The author utilizes myth and greek tragedy intentionally in order to make readers reflect upon the concepts of destiny and the fragility of human action as well as the fragmentation, hopelessness and dissatisfaction of contemporary societies. My study demonstrates that the formal innovation of these plays and the use of tragedy as their argumental framework present not only a criticism about these concepts but also an approach towards change and a social ethic of hope founded in creative freedom and the cooperation between the text and all people involved in the creative process. As a theoretical frame of reference for my study I use texts from Sigmund Freud, Jacques Lacan, Friedrich Nietzsche, René Girard and Emmanuel Levinas. Their reflections about the genre of tragedy and/or the concept of the tragic shed light upon my analysis of themes such as human suffering, trauma, the abuse of power, violence and the ethics of responsibility in the works of our author. / Thesis (PhD) — Boston College, 2011. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

Master of Arts / Department of Modern Languages / Benjamin Torrico / This thesis analyses the play Nosferatu by the contemporary Spanish author Francisco Nieva, and more specifically focuses on its genesis in silent film, primarily German Expressionist. First we take a look at the genre and style of the work itself, followed by a history of the vampire in literature and film. After a brief summary of the play, we begin to focus on the films, first discussing how Nieva came into contact with them in France through the cinémathèques. What follows is a detailed study of the films, with summaries, analysis of themes, and finally a comparison to Nosferatu, looking at the elements of the play that each film directly influenced.

This thesis examines the impact of Argentine theatre on Barcelona’s stage culture in the twenty-first century. Catalan theatre is caught up in conflicting cultural discourses that centre on the relation between language, politics and identity, tensions further compounded by globalisation and changing patterns of migration. Although publications in this field demonstrate the complexity of the inter-relationship of theatre to cultural identity (as with Sharon Feldman, In the Eye of the Storm [Bucknell University Press, 2009]; Maria Delgado, ‘Other’ Spanish Theatres [Manchester University Press, 2004]; Lourdes Orozco, Teatro y política en Barcelona (1980-2000) [Asociación de Directores de España, 2007]; Helena Buffery, Shakespeare in Catalan [University of Wales Press, 2007] etc.), there remains a need to articulate Catalan theatre’s relationship with its Hispanic “others” in terms that move beyond the separatism of the language binary. The aim of this thesis is to demonstrate how the presence of Argentine theatre allows for intercultural encounters that are built around the concept of mutual exchange. By drawing on an extensive range of cultural theory, the thesis sets out to explain both the extent and limitations of this exchange, focussing in on concepts of identity, gender and nation. The thesis is split into three sections: the first engages with existing debates and examines the historical development of cultural and theatre connections between Buenos Aires and Barcelona; the second looks at the aspects of infrastructure which have most clearly helped to facilitate the contemporary link: the Sala Beckett, international festivals, Focus and the Teatre Lliure; the third takes Javier Daulte, Victoria Szpunberg, Rafael Spregelburd and Rodrigo García as four indicative case studies to demonstrate the range of influence and practice. The conclusion examines the legacy of the Argentine-Catalan theatre link, drawing together the insights gained into modes of identification and cultural practices associated with theatre in Barcelona.

This study presents a biographical sketch of the author, a historical background of his period, an overview of his known works, an investigation of the definition and literary criticism of the "pasos," and summaries of and critical commentaries on the twenty-four known "pasos" of the Spanish dramatist whose work is considered to have significantly influenced the evolution of the Spanish theatre. The "pasos," brief comical dramatizations of realistic situations, involving diverse types of common people, reflecting witty and charming humor, are written in a prose style considered by critics to be equal to that of Cervantes and Rojas. The sources of investigation have been two volumes of his known works by the Real Academia Espanola, an edition of Pasos completos, literary histories, and several articles.

This thesis explores the various manners in which schadenfreude – taking pleasure in the misfortunes of others – functions in the theatrical works of Golden-Age Spain, specifically in three donjuanesque plays of the seventeenth century. The first chapter of the thesis analyses schadenfreude as exercised in Tirso de Molina’s "El burlador de Sevilla y convidado de piedra," a play in which Don Juan’s pleasurable deceptions incur the enjoyment of his demise. In the second chapter, a variation on the theme of Don Juan finds playwright Alonso de Córdoba y Maldonado applying schadenfreude as a literary technique in his play "La venganza en el sepulcro." Finally, a female representative of the Don Juan archetype is examined in the third chapter, which features María de Zayas y Sotomayor’s only known comedy "La traición en la amistad." / Graduate / 0465 / 0294 / 0313 / tmak@uvic.ca

La mondialisation n’est plus seulement une réalité économique et commerciale, elle concerne aussi les domaines culturels et artistiques. Dans ce contexte, la traduction joue un rôle majeur car elle facilite les échanges tout en conservant la diversité des langues et des cultures. En permettant la circulation des œuvres dramatiques et lyriques dans leur dimension spectaculaire, le surtitrage répond à cet enjeu du dialogue interculturel. Ainsi, il s’est imposé comme une technique de traduction à part entière, à mi-chemin entre la traduction théâtrale et la traduction audiovisuelle. Sa pratique connaît d’ailleurs un essor constant depuis son apparition, posant ainsi la question de sa professionnalisation et exigeant, par là-même, que l’on s’interroge sur les outils nécessaires au surtitreur. Pour y répondre, une analyse théorique du surtitrage est indispensable car ce dernier présente des spécificités propres qui concernent aussi bien les textes source et cible que l’opération de traduction qu’il engage. La réflexion traductologique doit être accompagnée d’une réflexion théâtrologique car le surtitrage apparaît, de fait, comme un élément qui s’ajoute à une scénographie. Quel que soit son degré d’intégration à la mise en scène, il n’est pas sans incidence sur le spectacle qu’il traduit. Outre cette approche théorique, ce travail s’appuie sur une expérience pratique du surtitrage pour en cerner les différents enjeux. Une telle articulation entre théorie et pratique a conduit à la conception de nouveaux outils, méthodologiques et informatiques (cahier des charges fonctionnel du logiciel Surtitéa), pour faciliter l’activité du surtitreur et accompagner sa professionnalisation. / Globalization is no longer restricted to the economic and commercial spheres as the cultural and artistic worlds are now also affected by it. Within this context, translation plays a major role since it makes exchanges easier while maintaining the diversity of languages and cultures. In making possible the circulation of dramatic and lyrical works in their entire theatrical dimension, the practice of surtitles contributes to the elaboration of this intercultural dialogue. Hence, it came to be recognized as a specific technique of translation, half-way between theatrical translation and audiovisual translation. The practice of surtitles has been developing at a regular pace since its creation, raising thus the question of its professionalization and that of the tools required for such specific types of translation. To answer those questions, a theoretical analysis of surtitling is necessary because of its specificities concerning both the source and target texts and the very process of translation which it implies. A reflection on the theories of translation should be combined with a reflection on the theatrical field since the surtitles are, as a matter of fact, part of the scenography. No matter how much the surtitles are taking into consideration in the elaboration of the staging, their integration always has a consequence on the play they translate. Alongside this theoretical approach, this study is based on a practical experience in surtitling which has helped us to further delineate its features. This combination of theory and practice has resulted in the creation of new tools in the field of methodology and computing (practical guidelines for the users of the software Surtitéa) to ease the task of the translator and helps his professionalization.

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Made available in DSpace on 2015-05-14T12:39:55Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1272870 bytes, checksum: 7d9c8e4708de2add06c7bae5eae67c7b (MD5) Previous issue date: 2014-02-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work analyses the representation of the tragic in Pedro Calderon de La Barca s Life is a dream, written in Spain in the 17th century. Searching for the elements which constitute the basis for the dramatic art in the author s historical context, we started by a systematic analysis of the theory of drama, using Aristotle s Poetics and Horace s The Art of Poetry. In doing so, we have reviewed the discussions about basic terms, recollected by theatre and drama studies. These discussions are focused, among other categories, on the elements which compose the tragic action, as well as on the concepts of mimesis and katharsis. The choice of this subject and interest in developing the research came from the study of various Western theories, such as the ones from Aristotle, Horace, Hegel and Szondi, to name a few. Those concepts also served as our initial parameter to the historical contextualization of the dramatic genre, since Calderon de la Barca s play is defined as a baroque tragedy which maintains, in its form, elements from Greek tragedy. This way, we also discuss dramatic modernity, using, mainly, Hegel s considerations, which deal with the dialectical aspect of the dramatic conflict and problematizes the differences between Greek and modern tragic conflicts. Moreover, we proceeded to the analysis of the main characteristics of the so-called Spanish Golden Age, which comprehended 16th, 17th and 18th centuries, proposing reflections about baroque literature and culture. To achieve this purpose, we have gathered contributions from various writers, such as Maravall, Regalado, Morón and Benjamim. By accomplishing this analysis, we intended not only to emphasize the historical and literary background of the play, but also to highlight its philosophical aspect. / Esta dissertação tem por objeto de estudo a representação do trágico em La vida es sueño de Pedro Calderón de la Barca, obra escrita na Espanha no século XVII. Tendo como base os elementos que fundamentam a arte dramática no contexto histórico o qual situa o autor, fizemos, em uma primeira instância, uma análise sistemática da teoria do drama, partindo do estudo da Poética de Aristóteles e da Arte Poética de Horácio. Dessa maneira, retomamos as discussões sobre termos básicos que são recordados pela tradição de estudos em torno da dramaturgia e do teatro focalizando, dentre outras categorias, a mimesis, os elementos que compõem a ação trágica e a katharsis. A escolha do tema e o interesse pelo desenvolvimento do texto afloraram do estudo de diversas teorias ocidentais, tais como as de Aristóteles, Horácio, Hegel e Szondi, entre outros. A partir dos conceitos aristotélicos temos a base para a compreensão e composição das tragédias, por isso, foi esse o nosso parâmetro inicial para a contextualização histórica do gênero dramático, visto que a obra em questão é uma tragédia barroca que mantem na sua forma elementos da tragédia grega. Neste sentido, discutimos também sobre a modernidade dramática, utilizando, principalmente, considerações de Hegel, autor que reflete sobre a dialética do conflito dramático e que problematiza as diferenças de abordagem entre os conflitos trágicos grego e moderno. Ademais, também procedemos a uma análise das principais linhas de força constitutivas do chamado Século de Ouro Espanhol, que alonga pelos séculos XVI, XVII e XVIII, propondo reflexões acerca da cultura e da literatura barrocas. Para isto, utilizamos as teorizações de diversos escritores, tais como Maravall, Regalado, Morón e Benjamin. Ao tecer essa análise, não somente enfatizamos o teor histórico-literário da peça, mas ressaltamos também o seu caráter filosófico.

Le monde théâtral de Miguel Romero Esteo, sans doute l’un des dramaturges espagnols les plus importants de la deuxième moitié du XXe siècle, ouvre sur des espaces qui apparaissent comme des univers inconnus encore jamais explorés. Son œuvre, composée de pièces qu’il nomme lui-même « grotescomachies », il invente une dramaturgie nouvelle, festive, rituelle et baroque, qui puise à diverses traditions littéraires, théâtrales, picturales et musicales. L’usage pléthorique de l’intertexte dans ce théâtre polymorphe, hybride et postmoderne avant la lettre – où le chercheur peut glaner les traces d’une anthropologie culturelle – souligne ce que le Moi doit à l’Autre dans toute appréhension esthétique et idéologique du monde. C’est le traitement de la langue qui retiendra notre attention car l’engendrement de la parole dramatique emprunte des chemins de traverse et esquisse des tracés inhabituels. Romero Esteo se livre à une déconstruction du langage et crée ainsi un espace imaginaire inédit, où la poésie et la musique occupent une place centrale. L’auteur crée une fête des sens et du sens, à la fois sonore et poétique, mais aussi critique et grotesque, où chacun des éléments de la structure dramatique s’inscrit dans une forme de jeu particulière qui, loin de dessiner une aire ludique singulière, repousse les limites de l’espace-temps théâtral. Théâtre en liberté, théâtre de la liberté, cette langue autre où se confondent l’animal et l’humain, le spirituel et le corporel, la folie et la raison, la terre et le ciel, construit un univers atemporel qui permet de mieux apprécier et de railler en permanence les traits caractéristiques de la condition humaine. / The theatrical universe of Miguel Romero Esteo, undoubtedly one of the most influential spanish playwrights of the second half of the 20th century, opens up spaces that emerge as unknown worlds no one has ever explored. In his work, consisting of plays he himself calls « grotescomachies », he invents a new dramaturgy, festive, ritual and baroque, which draws on various literary, theatrical, pictorial and musical traditions. The abundant usage of intertextuality in this polymorphous and hybrid theater, post-modern ahead of his time – where the researcher can gather traces of a cultural anthropology – underlines what the Self owes to the Other in every aesthetic and ideological perception of the world. Our primary focus will deal with the treatment of language, as the creation of the dramatic speech ventures off the beaten path and outlines routes that are unusual. Romero Esteo engages in a true deconstruction of speech and thus creates an unprecedented imaginary space, where poetry and music hold a central place. The author creates a celebration of sense and senses, at once loud and lyrical, but also critical and grotesque, where every single element of the dramatic structure falls within a specific form of play which, far from just materializing a unique playground, redefines the boundaries of the theatrical space-time.« Free-range » theater, theater of freedom… this unrivalled language, which mingles animal and human, spiritual and physical, insanity and reason, earth and sky, builds a timeless universe that allows for better appreciation and constant mockery of the distinctive features of the human condition.