cinema/theater

SPANISH RENAISSANCE THEATRE

The Golden Age of Spanish Theatre The Output of the Golden Age of Spanish Theatre are 1500 - 1700 By 1700, 30,000 plays were written. In quantity and vigor, the Spanish theatre was equal to England's between 1585 and 1642, But it fails to probe deeply into man's destiny. A preoccupation with a narrow code of honor limits it. Spanish drama flourished in the 16th and 17th centuries, like England, but came form different influences, Catholicism was able to become secure in Spain while religious infighting was rampant in the rest of Europe: Ferdinand and Isabella, after 1479, were able to unite much of Spain establish the Inquisition to hunt down and punish heretics, expel Moors and Jews-Catholicism became secure. Influences of Spanish drama: Moorish influence: women and honor Christian influence: religious faith and doctrine Spain was a dominant power by 1550, but after the defeat of the Spanish Armada in 1588, its influence and power declined.

.Spanish Religious Drama Extensive in the N.E. areas because the Moorish influence was less there. As Moors were expelled, religious drama expanded. It was similar to much of the rest of Europe till 1550, then took on distinctive characteristics. Auto sacramentale - associate with Corpus Christi - the sacraments - combined characteristics of morality and cycle plays, human mixed with allegorical, drawn from many sources as long as it illustrated dogma. Trade guilds were responsible for the productions, but professional troupes took over by the mid-1500's. But they were still religious. Toured neighboring towns. Usually done on carros, or wagons. First 2, then 4. They were wooden frames covered with painted canvas. By the 1690's, they were 16 feet long by 36 feet tall. Similar to the English pageant wagon staging. By 1647, fixed platforms were also used. Performed first in front of churches, then courtyards, then streets; no evidence that they were ever performed in the church itself. The autos were forbidden in 1765 - called too carnival in spirit. Some of the farces and dances elements considered objectionable. Also, having the plays performed by possibly immoral actors was objectionable. However, the autos were an adjunct for professional acting for 200 years.

Spanish Secular Drama 1470-1550 - Spain and Italy were close, they both had an interest in classical learning; in 1508, a University was founded, which studied Greek, Latin, Hebrew, classical dramas. Many works were translated. Some secular works written, but not widely performed. By 1454, many actors were paid at Corpus Christi, and by 1550 there were a number of professional troupes. Lope de Rueda (c. 1510-1565), often called the father of Spanish professional theatre (but was probably just the most successful), toured widely, wrote plays resembling medieval farces. There were not yet any permanent Spanish theatres. Juan de la Cueva (1550-1610) - used Spanish history and classical themes as subjects. Miguel de Cervantes (1547-1616) [Don Quixote]- 36 plays about contemporary Spanish life, but came to be seen as stilted after the plays of de Vega. By the end of the 16th century - full-length plays, serious or comic, 3 acts (the 5-act form was never adopted in Spain). B21AE

Maria Muñoz B21AE

DRAMATIST

EDWARD BOND

Born into a working-class family, Edward Bond, one of four children, was evacuated to Cornwall at the beginning of World War II, after which he returned to his grandparents' home near Ely. These country experiences were important to Bond and may be the source of his exceptional ability to capture a wide variety of speech mannerisms. After the war, he returned to London for grammar school and attended Crouch End Secondary Modern School; like many of his classmates, he left school at fifteen. He later attributed his interest in playwriting to two childhood experiences: first, his early exposure to the music hall, where one of his sisters was a magician's assistant, and second, his seeing, at age fourteen, the actor Daniel Wolfit in Macbeth (pr. 1606). Bond says of this experience, "It was the first thing that made sense of my life for me."

After leaving school, Bond worked in a factory until he was eighteen and then fulfilled his national service obligation (1953-1955). After basic training, he found himself stationed in Vienna, where he began seriously to try to write fiction. He returned to London in 1955 and again worked in factories. After submitting some plays to the Royal Court, he was asked in 1958 to join the writers' group there and to become a regular play reader for the theater. His first produced play, The Pope's Wedding, was directed by George Devine, who became Bond's favorite director and a champion of his work. Since 1966, Bond has lived by his writing, although his income has come more from the cinema than the theater. In 1971, Bond married Elisabeth Pablé. He has developed a coterie following in England, Italy, and the United States and has been a popular playwright in Germany. In Italy, where Bond served as visiting professor at the University of Palermo, his continuance of the Brechtian tradition has been recognized.

Bond has become involved in Theatre in Education (TIE), a project based in Birmingham, England, called the Big Brum TIE Company. He has written a number of plays for them and has participated in tours and workshops. In 1995 he said he felt he was writing better than ever. However, despite incursions into the Royal Shakespeare Company, he has withdrawn from mainstream British theater, preferring the lesser glory of educational theater based at a provincial center.

WORKS

The Pope's Wedding (1961-62)
Saved (1964)
Early Morning (1965-67)
Narrow Road to the Deep North (1968)
Black Mass (1970)
Passion "a Play for CND" (1971)
Lear (1969-71)
The Sea "a comedy" (1971-72)
Bingo "scenes of money and death" (1973)
The Fool "scenes of bread and love" (1974)
A-A-America !: Grandma Faust "a burlesque" and The Swing "a documentary" (1976)
Stone "a short Play" (1976)
The Woman "scenes of war and freedom" (1974-77)
The Bundle or New Narrow Road To The Deep North (1977)
The Worlds (1979)
Restoration "a pastorale" (1979-1980)
Summer "a European play" (1980-81)
Derek (1982)
Human Cannon (1979-1983)
The War Plays:Red Black and Ignorant (1983-84)
Jackets or The Secret Hand (1986)
In the Company of Men (1987-88)
September (1989)
Olly's prison (1990)
Coffee "a tragedy" (1993-94)
At the Inland Sea (1995)
Eleven Vests (1995-97)
The Crime of the twenty-first Century (1996-98)
The Children (1999)
Have I None (2000)
Existence (2002)
Born (2002-03)
The Balancing Act (2003)
The Short Electra (2003-4)
People (2005)
The Under Room (2005)
Chair, stage version (2005)
Arcade (2006)
Tune (2006)
Innocence (2008)
A Window (2009)
There Will Be More (2010)
The Edge (2011)
The Broken Bowl (2012)
The Angry Roads (2014)

Paula Perez B21AE

Hi! I am María José Ortiz and I am studying performing arts in Málaga. I love watching films because I think thay it is a beautiful way to know stories about other people.

I have been talking about Spanish cinema and its filmmakers, like Luis Buñuel, Pedro Almodóvar, Alejando Amenábar, Isabel Coixet... I think that it is a very interesting point to know because there are awesome films made in Spain and some people do not know that.

I have been shown some of my favourite Spanish movies too, like Techo y comida, La voz dormida...

I hope you enjoy the video and when you finish to watch it you want to watch a Spanish film.

Thank you!