Sonido y sentido en escena: El papel de la musica en la comedia española del Siglo de Oro y el teatro politico latinoamericano de la segunda mitad del siglo XX.
Notice bibliographique
Résumé
The academic analysis of drama often tends to privilege the written word over those sensory elements that are such critical aspects of live theatre. Rhythm, music, dialect, and silence â all these auditory features contribute significantly to the impact and meaning of a play, and they allow playwrights â together with the actors and stage directors who realize their dramatic visions â to convey political messages and address specific political issues without having to necessarily state them overtly within the dialogue.\nAs Augusto Boal stated in his Theatre of the Oppressed, drama is a weapon to fight against oppressive regimes. Thus this dissertation analyzes the role of the senses â especially those related to hearing â in developing the themes and intentions of political plays from Latin America and Spain. The aim is to explore how this has â or has not â changed throughout the centuries, with the ultimate objective of finding common musical and sensory elements, as well as possible affinities in the use of auditory features, to further enable a deeper understanding of how theatre is different from other literary genres.\n\nTo facilitate the analysis, this dissertation explores a total of six dramas: three Latin American political plays written in the second half of the 20th century and three Early Modern Spanish comedias that depict political scenes or themes. These plays are treated by pairs in each chapter and analyzed according to their use of auditory features in concert with written stage directions and dialogue as a means to reflect or denounce social problems pertaining to the different historical periods in which the plays were initially staged. Specifically, the dramatic pairings are as follows:\nChapter 1: \tDeath and the Maiden by Ariel Dorfman (1991)\nThe Mayor of Zalamea by Pedro Calderón de la Barca (ca.1640)\nChapter 2: \tInformation for Foreigners, by Griselda Gambaro (1971)\nFuenteovejuna, by Lope de Vega (ca.1610)\nChapter 3: \tThe Extentionist, by Felipe Santander (1978)\nCruelty for Honour, by Juan Ruiz de Alarcón (ca.1621-22). \nEach play is analyzed according to the theoretical frames that better serve its specific needs and particularities. However, the theories of Giorgio Agamben, Augusto Boal, José Antonio Maravall, Angel Rama, Walter Ong, and especially Bertolt Brecht, form the spinal chord that sustain this study and tie the three chapters to one another. The attention given to each one of these critics and their theories is explained in each chapterâs introduction.\nAs the conclusions show, these plays rely on sensory, linguistic and musical elements to denounce social and political problems of their time, and to try to move their different audiences towards reflection or action, in order to improve the society in which they lived.
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Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».