Glenda Nieto | Ohio Wesleyan University (original) (raw)
Conference Talks by Glenda Nieto
Articles and book chapters by Glenda Nieto
Comedia Performance, 2022
Comedia Performance
: This article discusses two collaborative theatre projects developed virtually due to COVID-19 r... more : This article discusses two collaborative theatre projects developed virtually due to COVID-19 restrictions during the 2020–2021 academic year. These projects—Medieval Ballads in Miniature: A Shadow of Myself and Our New Gold—highlight the dynamics of theatrical collaboration outside the traditional performing arts setting or classroom and show how these can be truly synergistic and enriching for academic and non-academic audiences.
Social Justice in Spanish Golden Age Theatre, 2020
Romance Quarterly, 2022
Abstract This introduction engages with the meaning and socio-cultural impact of a variety of art... more Abstract This introduction engages with the meaning and socio-cultural impact of a variety of artistic contributions within the realm of Hispanic theater that have been carried out in the Spanish-speaking world in order to keep production of the comedia afloat during the confinement due to COVID-19. It discusses what this implies for an inherently live medium such as the theater and, ultimately, introduces the content of the rest of the volume.
Comedia Performance, 2020
In a world where, paradoxically, increased communication via social networks has caused a rise in... more In a world where, paradoxically, increased communication via social networks has caused a rise in physical isolation, stories bring people back together. The theater, however, still allows people to partake in a shared experience. To this end Teatro Inverso has created a theory of Bodily Poetics: the understanding of how the actors’ bodies create the space onstage in connection with the poetry of the words and their actions. The theory was used to create an adaptation of La vida es sueño by Calderón de la Barca, Rosaura, which focuses on the female characters and their connections to each other, the action of the play, and their raw emotions. This article discusses the different ways in which storytelling is being used by Teatro Inverso to create adaptations that speak to their modern audiences.
En el presente estudio se analizara la inversion y alteracion de las normas sociales que se manif... more En el presente estudio se analizara la inversion y alteracion de las normas sociales que se manifiestan por medio de la apropiacion de los mitos sobre brujas en los siguientes entremeses: Entremes famoso de las brujas (1654) de Agustin Moreto, Las brujas fingidas y berza en boca, obra de autor Anonimo (segunda mitad del s. XVII) y Entremes de las brujas (1742) de Francisco de Castro. Varios de los elementos asociados al mundo de las brujas que se encuentran en estas tres obras cortas son: voces acusadoras que senalan e incriminan la herejia de la bruja, el elemento magico, vuelos nocturnos y el aquelarre. Los mismo provienen del folklore popular, tratados demonologicos e incluso relaciones de autos de fe, que solian presentar a la bruja como chupadora de sangre, canibal, voladora y devoradora de hombres. Por medio de este analisis se busca contestar como estos autores transgreden las normas sociales por medio de mitos populares y la figura de la bruja. Con este objetivo se analizara...
Metamorphoses: A Journal of Literary Translation, 2015
Comedia Performance , Vol. 17, No. 1, 2020
In a world where, paradoxically, increased communication via social networks has caused a rise in... more In a world where, paradoxically, increased communication via social networks has caused a rise in physical isolation, stories bring people back together. The theater, however, still allows people to partake in a shared experience. To this end Teatro Inverso has created a theory of Bodily Poetics: the understanding of how the actors’ bodies create the space onstage in connection with the poetry of the words and their actions. The theory was used to create an adaptation of La vida es sueño by Calderón de la Barca, Rosaura, which focuses on the female characters and their connections to each other, the action of the play, and their raw emotions. This article discusses the different ways in which storytelling is being used by Teatro Inverso to create adaptations that speak to their modern audiences.
Sixteenth Century Journal LI/ Supplement (2020), 2020
Although online digital media had always been a part of my Women and Power in Early Modern Spain ... more Although online digital media had always been a part of my Women and Power in Early Modern Spain class, the covid-19 stay-at-home order issued during the spring 2020 semester turned it into a central feature of my course rather than a supplemental one. This class was taught in Spanish and focused on the political and social role of women in early modern Spain. The core objectives were to acquire understanding of power relations and gender roles in early modern Spain; comprehend the importance of women’s contributions and legacies during the period in question; and obtain awareness of the historical, social, and political issues that influenced Spanish society in the sixteenth and seventeenth centuries. In order to achieve these goals and offer learners the opportunity to put into practice the knowledge they had acquired in class I redesigned the final project taking into consideration digital tools and academic resources that students could access while taking courses at home. This led to designing an assessment that involved using, creating, and posting digital shareable content on a custom-built Google Site...
Social Justice in Spanish Golden Age Theatre, 2021
Living the Comedia: Essays Celebrating Amy Williamsen (Volume II), 2020
In this article, I will discuss how experiential learning can help college age learners better c... more In this article, I will discuss how experiential learning can help college age learners better comprehend the Spanish comedia and achieve a higher level of analytical understanding of this genre. Experiential learning is a methodology in which the educator becomes a facilitator and mentor, allowing students to have “direct experience with the subject matter,” and to experience “things first-hand by creating, designing, building, and testing ideas” in order to understand the subject matter in depth (Wurdinger and Carlson 9). David A. Kolb, one of the leading theorists of this methodology, describes it as a “dynamic view of learning based on a learning cycle … or spiral where the learner ‘touches all the bases’—experiencing, reflecting, thinking, and acting—in a recursive process that is sensitive to the learning situation and what is being learned” (51). Taking into consideration the goals of experiential learning and the learning cycle, as defined by Kolb, I will discuss what this learning approach entails and how it can be applied to the teaching of the comedia by explaining various projects I conducted with undergraduate students after studying this genre in a traditional classroom setting. During these projects, learners participated in workshops and other hands-on activities with various professional theater companies, as well as attended live productions both at our university, a small liberal arts college in the Midwest, and at the Festival de Teatro Clásico de Almagro and the Siglo de Oro Drama Festival in El Paso, Texas. I also will share students’ reflections, as well as strategies to stimulate undergraduate understanding of and engagement with early modern Spanish plays. My goal is also to show how learning about the comedia through experiential means helps students develop critical thinking, problem solving, and project management skills that they will find valuable in their careers, regardless of their chosen field of study.
eHumanista/Cervantes , 2020
The Sierra Morena episodes in Part One of Don Quixote have been deemed some of the most fascinati... more The Sierra Morena episodes in Part One of Don Quixote have been deemed some of the most fascinating and experimental narratives in Early Modern Spanish prose due to their multiple narrators and the manner in which these narrative voices are integrated flawlessly into the main story (Mancing, 118). Frederick A. de Armas states that, with the transition into the Sierra Morena episodes, a drastic transformation takes place as Cervantes’s “narrative moves from a linear tale into a labyrinth where many mysteries and narrative threads appear” (96). Unfortunately, this labyrinthine quality makes it very difficult to represent this section of Don Quixote in alternative media, especially in visual narratives. As we know, there have been endless attempts to render parts of the Quixote in film, music, poetry, theater, illustrations, cartoons, comics, graphic novels, and more.1 While some have been more successful than others, few have captured the ingenuity and intricacy of Cervantes’s prose, nor its ability to actively engage its audience. This article focuses on how the narrative intricacies of these episodes have been successfully addressed in The Complete Don Quixote (2013), a graphic novel illustrated by Rob Davis. I analyze how its structural and compositional elements meet the demands of the original text, which compels readers to actively follow the characters along the bumpy roads of Sierra Morena. I begin by briefly outlining what the comic and graphic novel art forms involve, and how the academic community has received Davis’s work. Then I take as my case study chapter eight, which begins as Don Quixote arrives in Sierra Morena and ends when he is convinced to abandon the wilderness in order to aid princess Micomicona in recovering her kingdom. Specifically, I examine how Cardenio’s and Dorotea’s stories are integrated into chapter eight of the graphic novel and establish the ways this adaptation coincides with and departs from the original narrative’s structure and composition. From there I am able to determine why this adaptation and its particular medium so successfully captures the spirit of the original Don Quixote and actively engages its readers.
Comedia Performance, 2022
Comedia Performance
: This article discusses two collaborative theatre projects developed virtually due to COVID-19 r... more : This article discusses two collaborative theatre projects developed virtually due to COVID-19 restrictions during the 2020–2021 academic year. These projects—Medieval Ballads in Miniature: A Shadow of Myself and Our New Gold—highlight the dynamics of theatrical collaboration outside the traditional performing arts setting or classroom and show how these can be truly synergistic and enriching for academic and non-academic audiences.
Social Justice in Spanish Golden Age Theatre, 2020
Romance Quarterly, 2022
Abstract This introduction engages with the meaning and socio-cultural impact of a variety of art... more Abstract This introduction engages with the meaning and socio-cultural impact of a variety of artistic contributions within the realm of Hispanic theater that have been carried out in the Spanish-speaking world in order to keep production of the comedia afloat during the confinement due to COVID-19. It discusses what this implies for an inherently live medium such as the theater and, ultimately, introduces the content of the rest of the volume.
Comedia Performance, 2020
In a world where, paradoxically, increased communication via social networks has caused a rise in... more In a world where, paradoxically, increased communication via social networks has caused a rise in physical isolation, stories bring people back together. The theater, however, still allows people to partake in a shared experience. To this end Teatro Inverso has created a theory of Bodily Poetics: the understanding of how the actors’ bodies create the space onstage in connection with the poetry of the words and their actions. The theory was used to create an adaptation of La vida es sueño by Calderón de la Barca, Rosaura, which focuses on the female characters and their connections to each other, the action of the play, and their raw emotions. This article discusses the different ways in which storytelling is being used by Teatro Inverso to create adaptations that speak to their modern audiences.
En el presente estudio se analizara la inversion y alteracion de las normas sociales que se manif... more En el presente estudio se analizara la inversion y alteracion de las normas sociales que se manifiestan por medio de la apropiacion de los mitos sobre brujas en los siguientes entremeses: Entremes famoso de las brujas (1654) de Agustin Moreto, Las brujas fingidas y berza en boca, obra de autor Anonimo (segunda mitad del s. XVII) y Entremes de las brujas (1742) de Francisco de Castro. Varios de los elementos asociados al mundo de las brujas que se encuentran en estas tres obras cortas son: voces acusadoras que senalan e incriminan la herejia de la bruja, el elemento magico, vuelos nocturnos y el aquelarre. Los mismo provienen del folklore popular, tratados demonologicos e incluso relaciones de autos de fe, que solian presentar a la bruja como chupadora de sangre, canibal, voladora y devoradora de hombres. Por medio de este analisis se busca contestar como estos autores transgreden las normas sociales por medio de mitos populares y la figura de la bruja. Con este objetivo se analizara...
Metamorphoses: A Journal of Literary Translation, 2015
Comedia Performance , Vol. 17, No. 1, 2020
In a world where, paradoxically, increased communication via social networks has caused a rise in... more In a world where, paradoxically, increased communication via social networks has caused a rise in physical isolation, stories bring people back together. The theater, however, still allows people to partake in a shared experience. To this end Teatro Inverso has created a theory of Bodily Poetics: the understanding of how the actors’ bodies create the space onstage in connection with the poetry of the words and their actions. The theory was used to create an adaptation of La vida es sueño by Calderón de la Barca, Rosaura, which focuses on the female characters and their connections to each other, the action of the play, and their raw emotions. This article discusses the different ways in which storytelling is being used by Teatro Inverso to create adaptations that speak to their modern audiences.
Sixteenth Century Journal LI/ Supplement (2020), 2020
Although online digital media had always been a part of my Women and Power in Early Modern Spain ... more Although online digital media had always been a part of my Women and Power in Early Modern Spain class, the covid-19 stay-at-home order issued during the spring 2020 semester turned it into a central feature of my course rather than a supplemental one. This class was taught in Spanish and focused on the political and social role of women in early modern Spain. The core objectives were to acquire understanding of power relations and gender roles in early modern Spain; comprehend the importance of women’s contributions and legacies during the period in question; and obtain awareness of the historical, social, and political issues that influenced Spanish society in the sixteenth and seventeenth centuries. In order to achieve these goals and offer learners the opportunity to put into practice the knowledge they had acquired in class I redesigned the final project taking into consideration digital tools and academic resources that students could access while taking courses at home. This led to designing an assessment that involved using, creating, and posting digital shareable content on a custom-built Google Site...
Social Justice in Spanish Golden Age Theatre, 2021
Living the Comedia: Essays Celebrating Amy Williamsen (Volume II), 2020
In this article, I will discuss how experiential learning can help college age learners better c... more In this article, I will discuss how experiential learning can help college age learners better comprehend the Spanish comedia and achieve a higher level of analytical understanding of this genre. Experiential learning is a methodology in which the educator becomes a facilitator and mentor, allowing students to have “direct experience with the subject matter,” and to experience “things first-hand by creating, designing, building, and testing ideas” in order to understand the subject matter in depth (Wurdinger and Carlson 9). David A. Kolb, one of the leading theorists of this methodology, describes it as a “dynamic view of learning based on a learning cycle … or spiral where the learner ‘touches all the bases’—experiencing, reflecting, thinking, and acting—in a recursive process that is sensitive to the learning situation and what is being learned” (51). Taking into consideration the goals of experiential learning and the learning cycle, as defined by Kolb, I will discuss what this learning approach entails and how it can be applied to the teaching of the comedia by explaining various projects I conducted with undergraduate students after studying this genre in a traditional classroom setting. During these projects, learners participated in workshops and other hands-on activities with various professional theater companies, as well as attended live productions both at our university, a small liberal arts college in the Midwest, and at the Festival de Teatro Clásico de Almagro and the Siglo de Oro Drama Festival in El Paso, Texas. I also will share students’ reflections, as well as strategies to stimulate undergraduate understanding of and engagement with early modern Spanish plays. My goal is also to show how learning about the comedia through experiential means helps students develop critical thinking, problem solving, and project management skills that they will find valuable in their careers, regardless of their chosen field of study.
eHumanista/Cervantes , 2020
The Sierra Morena episodes in Part One of Don Quixote have been deemed some of the most fascinati... more The Sierra Morena episodes in Part One of Don Quixote have been deemed some of the most fascinating and experimental narratives in Early Modern Spanish prose due to their multiple narrators and the manner in which these narrative voices are integrated flawlessly into the main story (Mancing, 118). Frederick A. de Armas states that, with the transition into the Sierra Morena episodes, a drastic transformation takes place as Cervantes’s “narrative moves from a linear tale into a labyrinth where many mysteries and narrative threads appear” (96). Unfortunately, this labyrinthine quality makes it very difficult to represent this section of Don Quixote in alternative media, especially in visual narratives. As we know, there have been endless attempts to render parts of the Quixote in film, music, poetry, theater, illustrations, cartoons, comics, graphic novels, and more.1 While some have been more successful than others, few have captured the ingenuity and intricacy of Cervantes’s prose, nor its ability to actively engage its audience. This article focuses on how the narrative intricacies of these episodes have been successfully addressed in The Complete Don Quixote (2013), a graphic novel illustrated by Rob Davis. I analyze how its structural and compositional elements meet the demands of the original text, which compels readers to actively follow the characters along the bumpy roads of Sierra Morena. I begin by briefly outlining what the comic and graphic novel art forms involve, and how the academic community has received Davis’s work. Then I take as my case study chapter eight, which begins as Don Quixote arrives in Sierra Morena and ends when he is convinced to abandon the wilderness in order to aid princess Micomicona in recovering her kingdom. Specifically, I examine how Cardenio’s and Dorotea’s stories are integrated into chapter eight of the graphic novel and establish the ways this adaptation coincides with and departs from the original narrative’s structure and composition. From there I am able to determine why this adaptation and its particular medium so successfully captures the spirit of the original Don Quixote and actively engages its readers.
Comedia Performance, 2020
In a world where, paradoxically, increased communication via social networks has caused a rise in... more In a world where, paradoxically, increased communication via social networks has caused a rise in physical isolation, stories bring people back together. The theater, however, still allows people to partake in a shared experience. To this end Teatro Inverso has created a theory of Bodily Poetics: the understanding of how the actors’ bodies create the space onstage in connection with the poetry of the words and their actions. The theory was used to create an adaptation of La vida es sueño by Calderón de la Barca, Rosaura, which focuses on the female characters and their connections to each other, the action of the play, and their raw emotions. This article discusses the different ways in which storytelling is being used by Teatro Inverso to create adaptations that speak to their modern audiences.
Female Amerindians in Early Modern Spanish Theater. Lewisburg, PA: Bucknell University Press , 2014
Comedia performance, Jun 1, 2022
Anagnórisis: Revista de investigación teatral, 2019
Montserrat Ángeles Peralta y Fernando Villa en ¿Qué con Quique Quinto? Foto cortesía de EFE TRES.... more Montserrat Ángeles Peralta y Fernando Villa en ¿Qué con Quique Quinto? Foto cortesía de EFE TRES. Fotografía: INBA/CITRU, Fotógrafo Gabriel Morales Conversación con Fernando Villa y Allan Flores: EFE TRES Teatro EFE TRES Teatro es una compañía mexicana dedicada a adaptar y a poner en escena textos clásicos. Fue fundada en 2012 por Fernando Memije, Fernando Villa, Allan Flores y Ana Lilia Herrera. Entre sus montajes se encuentran: El príncipe ynocente (2013, Lope de Vega), ¿Qué con Quique Quinto? (2016, basada en Enrique V de William Shakespeare) y El merolico: Entremeses bululados (2017, basada en entremeses de Miguel de Cervantes). Sus puestas en escena son minimalistas y lúdicas. Por lo general cuentan con uno o dos actores y su versátil y original estilo permite que los espectadores tengan un rol activo. De esta manera logran que sus puestas en escena sean accesibles para todo tipo de espectador, demostrando que los clásicos son divertidos, vigentes y universales.
Hipogrifo. Revista de literatura y cultura del Siglo de Oro
Comedia Performance, 2021
EFE TRES Teatro es una compañía mexicana fundada en 2012 por Fernando Memije, Fernando Villa y ... more EFE TRES Teatro es una compañía mexicana fundada en 2012 por Fernando Memije, Fernando Villa y Allan Flores, que se especializa en adaptar y poner en escena obras clásicas, hispanas e inglesas.1 Entre su repertorio encontramos El príncipe ynocente de Lope de Vega, ¿Qué con Quique Quinto? (adaptación cabaret de Enrique V de William Shakespeare junto con la compañía Cabaret Misterio) y El Merolico (adaptación unipersonal de los entremeses de Miguel de Cervantes). Próximamente van a estrenar una nueva versión de Los empeños de una casa por Sor Juana Inés de la Cruz. Su filosof ía artística se demuestra en el minimalismo de sus adaptaciones, incluyendo el elenco, la utilería, el vestuario, y el decorado. Emplean estilos barrocos como el ñaque o el bululú, con el fin de conectar con una audiencia contemporánea. En esta entrevista, Allan Flores y Fernando Villa, co-fundadores de EFE TRES Teatro, nos hablan sobre el teatro durante el confinamiento por COVID-19 y las posibilidades teatrales del pos-confinamiento. Explican las innovaciones teatrales que implementaron por medio del teatro digital, cómo llevaron sus obras al aire libre para permitir el distanciamiento social, y cómo han conectado con nuevas audiencias y compañías teatrales internacionales a través de plataformas digitales.
Co-authored with Johanna Adrian Burr and Sarah Gielink.
Latin American Theatre Review
Comedia Performance, 2021
EFE TRES Teatro es una compañía mexicana fundada en 2012 por Fernando Memije, Fernando Villa y... more EFE TRES Teatro es una compañía mexicana fundada en 2012 por Fernando Memije, Fernando Villa y Allan Flores, que se especializa en adaptar y poner en escena obras clásicas, hispanas e inglesas.1 Entre su repertorio encontramos El príncipe ynocente de Lope de Vega, ¿Qué con Quique Quinto? (adaptación cabaret de Enrique V de William Shakespeare junto con la compañía Cabaret Misterio) y El Merolico (adaptación unipersonal de los entremeses de Miguel de Cervantes). Próximamente van a estrenar una nueva versión de Los empeños de una casa por Sor Juana Inés de la Cruz. Su filosof ía artística se demuestra en el minimalismo de sus adaptaciones, incluyendo el elenco, la utilería, el vestuario, y el decorado. Emplean estilos barrocos como el ñaque o el bululú, con el fin de conectar con una audiencia contemporánea.
En esta entrevista, Allan Flores y Fernando Villa, co-fundadores de EFE TRES Teatro, nos hablan sobre el teatro durante el confinamiento por COVID-19 y las posibilidades teatrales del pos-confinamiento. Explican las innovaciones teatrales que implementaron por medio del teatro digital, cómo llevaron sus obras al aire libre para permitir el distanciamiento social, y cómo han conectado con nuevas audiencias y compañías teatrales internacionales a través de plataformas digitales.
Latin American Theatre Review. , 2021
Comedia Performance, 2020
Francisco Negro es director, actor, escenógrafo y co-fundador de Morfeo Teatro. Estudió teatro y ... more Francisco Negro es director, actor, escenógrafo y co-fundador de Morfeo Teatro. Estudió teatro y literatura en Oxford y posee un postgrado en artes escénicas de la Escuela de Bellas Artes de Varsovia. Ha trabajado para numerosas producciones en México, Nueva York y España. Para Morfeo Teatro, Negro ha dirigido y puesto en escena numerosas producciones, entre ellas: Cómicos, a donde el viento nos lleve (M. Murillo y F. Negro, 2018), Los cuernos de don Friolera (Valle-Inclán, 2018), El retablo de las maravillas (Cervantes, 2016), La escuela de los vicios (Quevedo, 2014) y El coloquio de los perros (Cervantes, 2011). Esta entrevista se centra en algunas de sus producciones basadas en textos áureos y cómo las mismas exponen una visión crítica de carácter social. GYN: ¿De dónde surge el interés por adaptar obras del Siglo de Oro que no han sido necesariamenteescritas para ser representadas? FN: A nivel dramático para cualquier puesta en escena lo primordial es encontrar una buena historia que contar, esto lo tienen tanto las obras en narrativa como las piezas dramáticas; hay muchas novelas que en sí mismas gozan de un "espíritu teatral" por la facilidad de llevar sus diálogos a escena con interés, porque en sus diálogos reside la fuerza de la historia, más que en su mero componente descriptivo. En el Siglo de Oro, salvando excepciones, las comedias suelen tener un rasgo común en una gran mayoría: el ofrecer un conflicto que sirva de modelo ejemplarizante, bien sobre la honra o el honor, pero no es tan habitual el mostrar conflictos de problemática Entrevista con Francisco Negro: Compromiso social en producciones de Morfeo Teatro GLENDA Y. NIETO-CUEBAS, OHIO WESLEYAN UNIVERSITY 08_Nieto.indd 98 08_Nieto.indd 98 25/03/20 10:49 AM 25/03/20 10:49 AM
Anagnórisis: Revista de Investigación Teatral., 2019
Montserrat Ángeles Peralta y Fernando Villa en ¿Qué con Quique Quinto? Foto cortesía de EFE TRES.... more Montserrat Ángeles Peralta y Fernando Villa en ¿Qué con Quique Quinto? Foto cortesía de EFE TRES. Fotografía: INBA/CITRU, Fotógrafo Gabriel Morales Conversación con Fernando Villa y Allan Flores: EFE TRES Teatro EFE TRES Teatro es una compañía mexicana dedicada a adaptar y a poner en escena textos clásicos. Fue fundada en 2012 por Fernando Memije, Fernando Villa, Allan Flores y Ana Lilia Herrera. Entre sus montajes se encuentran: El príncipe ynocente (2013, Lope de Vega), ¿Qué con Quique Quinto? (2016, basada en Enrique V de William Shakespeare) y El merolico: Entremeses bululados (2017, basada en entremeses de Miguel de Cervantes). Sus puestas en escena son minimalistas y lúdicas. Por lo general cuentan con uno o dos actores y su versátil y original estilo permite que los espectadores tengan un rol activo. De esta manera logran que sus puestas en escena sean accesibles para todo tipo de espectador, demostrando que los clásicos son divertidos, vigentes y universales.
Anagnórisis: Revista de Investigación Teatral, 2018
Co-authored with Johanna Adrian Burr and Sarah Gielink.
This collection of original new essays focuses on the many ways in which early modern Spanish pla... more This collection of original new essays focuses on the many ways in which early modern Spanish plays engaged their audiences in a dialogue about abuse, injustice, and inequality. Far from the traditional monolithic view of theatrical works as tools for expanding ideology, these essays each recognize the power of theatre in reflecting on issues related to social justice. The first section of the book focuses on textual analysis, taking into account legal, feminist, and collective bargaining theory. The second section explores issues surrounding theatricality, performativity, and intellectual property laws through an analysis of contemporary adaptations. The final section reflects on social justice from the practitioners’ point of view, including actors and directors. Social Justice in Spanish Golden Age Theatre reveals how adaptations of classical theatre portray social justice and how throughout history the writing and staging of comedias has been at the service of a wide range of political agendas.
This collection of original new essays focuses on the many ways in which early modern Spanish pla... more This collection of original new essays focuses on the many ways in which early modern Spanish plays engaged their audiences in a dialogue about abuse, injustice, and inequality. Far from the traditional monolithic view of theatrical works as tools for expanding ideology, these essays each recognize the power of theatre in reflecting on issues related to social justice. The first section of the book focuses on textual analysis, taking into account legal, feminist, and collective bargaining theory. The second section explores issues surrounding theatricality, performativity, and intellectual property laws through an analysis of contemporary adaptations. The final section reflects on social justice from the practitioners’ point of view, including actors and directors.
Social Justice in Spanish Golden Age Theatre reveals how adaptations of classical theatre portray social justice and how throughout history the writing and staging of comedias has been at the service of a wide range of political agendas.
Latin American theatre review, Mar 1, 2023
Tirso de Molina: Interdisciplinary Perspectives from the Twenty-First Century. Ed. Esther Fernández. Tamesis. , Sep 25, 2023
The Sixteenth Century Journal
Although online digital media had always been a part of my Women and Power in Early Modern Spain ... more Although online digital media had always been a part of my Women and Power in Early Modern Spain class, the covid-19 stay-at-home order issued during the spring 2020 semester turned it into a central feature of my course rather than a supplemental one. This class was taught in Spanish and focused on the political and social role of women in early modern Spain. The core objectives were to acquire understanding of power relations and gender roles in early modern Spain; comprehend the importance of women’s contributions and legacies during the period in question; and obtain awareness of the historical, social, and political issues that influenced Spanish society in the sixteenth and seventeenth centuries. In order to achieve these goals and offer learners the opportunity to put into practice the knowledge they had acquired in class I redesigned the final project taking into consideration digital tools and academic resources that students could access while taking courses at home. This led to designing an assessment that involved using, creating, and posting digital shareable content on a custom-built Google Site...
Symposium: A Quarterly Journal In Modern Literatures, Apr 3, 2023
Anagnórisis: Revista de investigación teatral, 2019
Montserrat Ángeles Peralta y Fernando Villa en ¿Qué con Quique Quinto? Foto cortesía de EFE TRES.... more Montserrat Ángeles Peralta y Fernando Villa en ¿Qué con Quique Quinto? Foto cortesía de EFE TRES. Fotografía: INBA/CITRU, Fotógrafo Gabriel Morales Conversación con Fernando Villa y Allan Flores: EFE TRES Teatro EFE TRES Teatro es una compañía mexicana dedicada a adaptar y a poner en escena textos clásicos. Fue fundada en 2012 por Fernando Memije, Fernando Villa, Allan Flores y Ana Lilia Herrera. Entre sus montajes se encuentran: El príncipe ynocente (2013, Lope de Vega), ¿Qué con Quique Quinto? (2016, basada en Enrique V de William Shakespeare) y El merolico: Entremeses bululados (2017, basada en entremeses de Miguel de Cervantes). Sus puestas en escena son minimalistas y lúdicas. Por lo general cuentan con uno o dos actores y su versátil y original estilo permite que los espectadores tengan un rol activo. De esta manera logran que sus puestas en escena sean accesibles para todo tipo de espectador, demostrando que los clásicos son divertidos, vigentes y universales.
Symposium: A Quarterly Journal In Modern Literatures, Apr 3, 2023
Anagnórisis: Revista de investigación teatral, 2019
Montserrat Ángeles Peralta y Fernando Villa en ¿Qué con Quique Quinto? Foto cortesía de EFE TRES.... more Montserrat Ángeles Peralta y Fernando Villa en ¿Qué con Quique Quinto? Foto cortesía de EFE TRES. Fotografía: INBA/CITRU, Fotógrafo Gabriel Morales Conversación con Fernando Villa y Allan Flores: EFE TRES Teatro EFE TRES Teatro es una compañía mexicana dedicada a adaptar y a poner en escena textos clásicos. Fue fundada en 2012 por Fernando Memije, Fernando Villa, Allan Flores y Ana Lilia Herrera. Entre sus montajes se encuentran: El príncipe ynocente (2013, Lope de Vega), ¿Qué con Quique Quinto? (2016, basada en Enrique V de William Shakespeare) y El merolico: Entremeses bululados (2017, basada en entremeses de Miguel de Cervantes). Sus puestas en escena son minimalistas y lúdicas. Por lo general cuentan con uno o dos actores y su versátil y original estilo permite que los espectadores tengan un rol activo. De esta manera logran que sus puestas en escena sean accesibles para todo tipo de espectador, demostrando que los clásicos son divertidos, vigentes y universales.
Comedia performance, Jun 1, 2022
Comedia performance, Jun 1, 2022
Comedia performance, Jun 1, 2022
: This article discusses two collaborative theatre projects developed virtually due to COVID-19 r... more : This article discusses two collaborative theatre projects developed virtually due to COVID-19 restrictions during the 2020–2021 academic year. These projects—Medieval Ballads in Miniature: A Shadow of Myself and Our New Gold—highlight the dynamics of theatrical collaboration outside the traditional performing arts setting or classroom and show how these can be truly synergistic and enriching for academic and non-academic audiences.
Comedia performance, Mar 1, 2023
Symposium: A Quarterly Journal in Modern Literatures