By Lisa Surwillo
The demeanour within which a play is released usually says as a lot concerning the tradition that it comes from because the play itself. utilizing the instance of nineteenth-century Spanish theatre, The levels of Property argues that there's a good deal you could know about a state through interpreting its book criteria.
Lisa Surwillo discusses the ways that notions of highbrow estate reworked Spain's theatre - its brokers, functionality practices, and reception - over a interval of 50 years, from 1830 to 1880. for 3 centuries, theatre were the cultural arm of the monarchy. After the establishment of copyright, notwithstanding, it grew to become the spine of a brand new cultural managed via a handful of publishers. during this surroundings of non-public possession, rules of highbrow estate and author's rights assumed a miles larger immediacy than that they had formerly. The effect on theatrical practices used to be major, leading to the improvement of a homogenized nationwide tradition of shared theatre and interpreting experiences.
Through an integrative historicist method of quite a lot of literary texts and archival records, The levels of Property makes a massive assertion concerning the cultural, societal, and political roles of the theatre in Spain in the course of the 1800s.
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The style during which a play is released frequently says as a lot concerning the tradition that it comes from because the play itself. utilizing the instance of nineteenth-century Spanish theatre, The phases of estate argues that there's a good deal you'll be able to find out about a country via analyzing its e-book criteria. Lisa Surwillo discusses the ways that notions of highbrow estate remodeled Spain's theatre - its brokers, functionality practices, and reception - over a interval of 50 years, from 1830 to 1880.
Extra info for The Stages of Property: Copyrighting Theatre in Spain
The representation of the nation on Spanish stages was commodified and transformed into a private possession, as outlined in the Introduction. The outcome of the categorization of verse as property was an effective embourgeoisement, if not complete popularization, of dramatic poets. Mendizábal promoted the ideals of property in one measure that forever changed the face of Spain: the public auction of ecclesiastic and municipal lands. 20 That is, desamortización was a specific measure intended to actualize liberalism in Spain by opening government participation to propertied individuals, countering the economic prowess of Carlism’s stronghold in the Church, and resolving Spain’s insolvency through a belief in private money as the organizing principle in society.
The Performative Appeal 45 supposed state of decadence of Spanish drama was to be repeatedly bemoaned by artists and cultural critics throughout the nineteenth century, but the petitioners employed the term with shrewd political acumen. 8 The Queen Regent had stated in the royal decree from 1833 that she found the theatre to be in ‘mal estado’ [poor state]. But whereas many other phrases from her earlier proclamation were reproduced exactly, the poets transformed this term in 1837 into the stronger ‘decadencia’ [decadence], or decline from previous grandeur.
32 Gutiérrez’s involvement with intellectual property did not end on 1 March but continued in his highly stylized presentation by the press as the exemplary landless (but intelligent) young man who merited an opportunity to advance socially in post-absolutist Spain. Both after 1 March and throughout the century, he was cast as ‘un jóven patriota alistado voluntariamente en los ejércitos de la libertad (lo cual constituia el mejor pasaporte en aquellos dias)’ [a young patriot voluntarily enlisted in the armies of liberty (which served as the best passport in those days)],33 and as a young celebrity he progatonized the need for dramatic literary property up to and through its presentation to the Regent, María Cristina.
The Stages of Property: Copyrighting Theatre in Spain by Lisa Surwillo