Open Access. Powered by Scholars. Published by Universities.®
Dramatic Literature, Criticism and Theory Commons™
Open Access. Powered by Scholars. Published by Universities.®
- Discipline
Articles 1 - 3 of 3
Full-Text Articles in Dramatic Literature, Criticism and Theory
Sergi Belbel's Theatre Of Pain, Sharon G. Feldman
Sergi Belbel's Theatre Of Pain, Sharon G. Feldman
Latin American, Latino and Iberian Studies Faculty Publications
Dins la seva memoria ("Within his Memory"), a Catalan play written by Sergi Bel-bel in 1986, begins in total darkness, an imprecise empty void in which the spectator hears only the deep, rhythmic gasps and sighs of the anonymous protagonist. ' As the stage lights slowly rise during this "preliminary" scene, Ell (or, "He," as the protagonist is generically called) is depicted on his knees, masturbating with his back to the audience. At first glance, his violent, self-inflicted pleasure may be interpreted as an ultimate affirmation of life; yet, his autoerotic gestures are also imbued with memories that carry …
Post-Franco Theatre, Sharon G. Feldman
Post-Franco Theatre, Sharon G. Feldman
Latin American, Latino and Iberian Studies Faculty Publications
In the multiple realms and layers that comprise the contemporary Spanish theatrical landscape, “crisis” would seem to be the word that most often lingers in the air, as though it were a common mantra, ready to roll off the tongue of so many theatre professionals with such enormous ease, and even enthusiasm, that one is prompted to wonder whether it might indeed be a miracle that the contemporary technological revolution – coupled with perpetual quandaries concerning public and private funding for the arts – had not by now brought an end to the evolution of the oldest of live arts, …
Dins La Nostra Memòria, Sharon G. Feldman
Dins La Nostra Memòria, Sharon G. Feldman
Latin American, Latino and Iberian Studies Faculty Publications
L'àmbit espacial de la cultura catalana configura un paisatge fluid i dinàmic, un espai simbòlic d'emoció, percepció i subjectivitat. De la mateixa manera, Barcelona ha sorgit i ressorgit al llarg d'aquest segle i del passat com un espai transcultural fluid de migracions. En una ciutat en què en l'actualitat almenys el 12% de la població prové de fora de les fronteres espanyoles, tot faria pensar que els dramaturgs catalans se senten ara especialmente inclinats a considerar l’espai del pluralisme cultural que és per a'ells «casa seva». Tanmateix, al teatre el procés d'autoreconeixement i el desig d'autoconscienciació es complex. Referintse al …