Abstract
Just like the House of Habsburg, the teaching of the Spanish Golden Age appears to be in perpetual decline. Rather than bemoaning this state of affairs, I would like to suggest that it is our collective responsibility to look for solutions in the context of a post-literary culture in which, to use the words of Robert Rosenstone [2006:4], the «desire to express our relationship to the past by using contemporary forms of expression, as well as the desire to appeal to a contemporary sensibility, sooner of later has to point us in the direction of the visual media». In the first part, I will sketch a history of how Golden Age works have been taught in primary and secondary schools in Spain to suggest that the education system as well as television and cinematic adaptations from the Franco period have generated a series of prejudices as regards the national theatre. This will pave the way in the second section for an analysis of the possibilities harboured in audio-visual production to safeguard the presence of Spanish classical theatre as a cornerstone of a holistic democratic education at different levels both at home and abroad. My hope is that the implementation of audio-visual media functions as a means for bringing Golden Age plays alive for students and, at the same time, stimulating their critical thinking and opportunities for the development of transferable skills.
Highlights
Fecha de recepción: 5 de septiembre de 2017 / Fecha de aceptación: 4 de octubre de 2017 resumen Al igual que la casa de Habsburgo, la docencia del Siglo de Oro da la impresión de estar en perpetuo declive
En lugar de rasgarse las vestiduras, proponemos que es responsabilidad nuestra buscar una solución dentro de una cultura pos-literaria en el que, según las palabras de Robert Rosenstone [2006:4], el «desire to express our relationship to the past by using contemporary forms of expression, as well as the desire to appeal to a contemporary sensibility, sooner of later has to point us in the direction of the visual media»
Rather than bemoaning this state of affairs, I would like to suggest that it is our collective responsibility to look for solutions in the context of a post-literary culture in which, to use the words of Robert Rosenstone [2006:4], the «desire to express our relationship to the past by using contemporary forms of expression, as well as the desire to appeal to a contemporary sensibility, sooner of later has to point us in the direction of the visual media»
Summary
Al igual que la casa de Habsburgo, la docencia del Siglo de Oro da la impresión de estar en perpetuo declive. Puede que ocupe un lugar privilegiado dentro del ámbito universitario, pero la literatura dramática áurea no lucha en las mismas condiciones que el teatro isabelino: incluso si dejamos de lado la hegemonía de la lengua inglesa, no disfruta del mismo protagonismo en la enseñanza obligatoria española que su homólogo en los colegios e institutos, mientras que Shakespeare ocupa un lugar mucho más seguro que cualquiera de los grandes dramaturgos del Siglo de Oro en grados de estudios ingleses e hispánicos. En la primera sección de este artículo trazamos una historia de la enseñanza de las obras del Siglo de Oro en la educación primaria y media en España para sugerir que tanto la docencia como la producción televisiva y cinematográfica del franquismo han propagado una serie de prejuicios en cuanto al teatro clásico, una deuda con el patrimonio nacional que no se ha llegado a amortizar con la llegada de la democracia. Evans [1990:vii] ofreció hace casi treinta años sobre la urgente necesidad de extirpar «mummified texts [...] to explicate http://revistes.uab.cat/anuariolopedevega them and to allow them an integral, front-rank place in the curriculum of civilised establishments of education»
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