|
The State Society for Foreign Cultural Action of Spain, SEACEX,
the National Theater Museum and the Pedro María Sánchez
Company joined to the Spanish Cultural Center in Miami, Avante
Theatre and Miami Dade College, have organized both activities
in homage to the figure of the Spanish play writer Pedro Calderón
de la Barca which will be held on occasion of the International
Hispanic Theatre Festival of Miami.
Calderón de la Barca is not only one of the authors
who is more open to scene renewal, but also one of the most
acknowledged and represented play writers, which makes the
presence of this project in Miami the continuation of a theatrical
tradition initiated by the first Spanish companies since the
19th century.
EXHIBITION: A HUNDRED YEARS DRESSING CALDERÓN
The show A Hundred Years Dressing Calderón
has been curated by Andrés Peláez, Director
of the Museo Nacional del Teatro and includes 40
costumes and 10 plotted costumes designs from the
Museo Nacional del Teatro, Compañía Nacional
de Teatro Clásico and Sastrería Cornejo, used
in different productions.
The exhibitions wishes to show, through the exhibition of
theatrical costumes, the evolution of theatre settings in
the plays by Calderón de la Barca during the last one
hundred years. Since the first avant garde movements, that
arrived from Central Europe with Burmann, Cortezo and Emilio
Burgos, passing along the Baroque ruptures of Nieva and Puigserver,
to the most recent proposals by Miguel Narros and Andrea D’Odorico.
According to Peláez, the objective of the show is to
discover how costumes, in spite of the immediacy of their
making, walk along artistic avant gardes. Nobody dares to
doubt that an attire, be it for a theatre play or not, is
an artistic expression with rights of its own, a fact that
is demonstrated in the great exhibitions that, on theatre
and movie outfits, were programmed with true interest at important
museums of the world.
EUCHARISTIC PLAY: THE DIVINE PHILOTHEA
The Divine Philothea was written by Calderón
in 1681 and follows word for word the basic characteristics
of the “auto sacramental” or Eucharistic play:
it provides a balanced combination of doctrinal content and
the dramatization of a story. It tells of a raid on a castle
where a woman wooed by two suitors is locked away, a plot
which is also inspired on chivalrous literature.
The events portrayed on stage are naturally an allegory of
the theological concepts referred to. In other words, the
lady is the soul that is locked away in the body, represented
by the castle.
To sum up, this is a magnificent Eucharistic play that links
action, characteristic of a chivalrous comedy, to the moral
life of man, as the representative of a struggle between the
enemies of the soul, and synthesizing the main dogmas of the
Catholic faith.
The Camerata Romeu, conducted by Zenaida Romeu, plays the
music composed by José Nebra and characterized by its
joyfulness, vitality and emotion. This work, apparently merely
light and charming, is full of multiple nuances and contrasts
that recall the sensitive and sentimental styles of Central
Europe, without renouncing the authenticity of the popular
genres of the Spanish 18th century.
Cast in order of appearance
• Demon: Pedro María Sánchez
• World: Carlos Pulido
• Lust: Vladimir Cruz
• The Five Senses: Victoria Zazo – Hearing; Lucía
Ortega – Touch; Gemma Solé / Olga Mata –
Sight; Alicia Cabrera – Smell; Raquel Ramos –
Taste
• Philothea: Ana Hernández Sanchiz
• The Three Theological Virtues: Inma Ochoa –
Faith; Teresa Vallejo – Hope;
• Sonsoles Benedicto – Charity
• Prince of Light: Flora María Alvaro –
Voice; Uriel Lakshmi – Presence
• Atheism: Luis Bondía
• Paganism: Jesús Prieto
• Hebraism: Antonio Medina
• Apostasy: Enric Benavent
• Understanding: Víctor Álvaro
|
|
Click on images
to enlarge
Performance auto
sacramental The
Divine Philothea
Pedro María Sánchez
Theatre Company
Performance auto
sacramental The
Divine Philothea
Pedro María Sánchez
Theatre Company
No hay burlas
con el amor
Design by Pedro Moren
Costume used by
Fernando Conde for the
Moscatel’s character
1998. Compañía
Nacional de Teatro Clásico
El laurel de Apolo
Design by Emilio Burgos
Musa’s character costume. 1982
Museo Nacional
del Teatro
|
