Diálogos en las tablas: últimas tendencias de la puesta en escena del teatro clásico español ed. by María Bastianes, et al

Abstract

 Reviews authoritative position in the Italian landscape does not exclude them from a paternalistic approach to narrating the story of the migrant, a clear example of which is identified by the author in the ending of De Seta’s Lettere dal Sahara (). Similar risks are highlighted in the production of the in-between generation of film-makers, particularly in the indulgent Western gaze cast in two major dramas, Amelio’s Lamerica () and Giordana’s Quando sei nato non puoi più nasconderti (). Such risks seem to be avoided with the third generation of registi, such as Garrone and Manetti Bros., who are seen as postmodern, globalized authors able to offer a less hierarchical vision of the interaction between Italians and immigrants, as in the metanarrative of Terra di mezzo () or in the moves towards accented cinema in Torino Boys (). e third chapter concludes the analysis on genre in immigration cinema from the early s, arguing that the theme of migration brings new life both into the tradition of documentary—a notable example being Come un uomo sulla terra by Biadene, Segre, and Yimer ()—and in the resurgence of comedy with works such as Comencini’s Bianco e nero (). At the same time, the author identifies in Crialese’s Terraferma () the end point of a discourse on migration in the tradition of cinematic impegno, which is seen as having by then exhausted its narrative formula in the Italian context. Nella terra di mezzo is an accessible and well-documented reflection on both the filmic narratives created to respond to the recent phenomenon of immigration into Italy and the evolution towards postmodern and accented modes of representation experienced by Italian cinema over the last decades. As such, it will be of particular interest to scholars and students in Italian studies, film studies, and migration studies who wish to explore the pivotal developments that have taken place in Italian society over the twenty-year period taken into consideration in the volume. R H, U  L C S Diálogos en las tablas: últimas tendencias de la puesta en escena del teatro clásico español. Ed. by M B, E F, and P M. Kassel: Reichenberger. . xiv+ pp. €. ISBN –– ––. is collection of articles and interviews emerges from a commitment to understand Spanish theatre of the Golden Age from multiple perspectives: translators, directors, scholars, and actors all provide valuable ways into the plays of early modern Spain. Joan Oleza opens the collection by emphasizing the necessity of preventing scholarship about Spanish classical theatre from turning into a conversation about a dead art form, disconnected from the vibrant and ever-changing reality of modern performances and adaptations. e collaborative nature of these conversations informs the format of the book, the first section being a series of scholarly articles each paired with an interview with a practitioner, usually in direct relation to the play(s) discussed in the article. e articles run the gamut from performance history of a text to the history of theatre companies and organizations, examination of different theoretical and MLR, .,   scholarly practices for understanding these texts, and critical reviews of modern stagings in Spain and the United Kingdom. Highlighted quotations appear in the interview sections of each chapter, a stylistic choice which encapsulates the interviewees’ personal engagement with Spanish classical theatre or their larger philosophy of performance. An especially successful example of this model can be found in Chapter , in which Julio Vélez Saenz discusses the expansion of the theatrical canon of classical Spanish theatre by examining the work of Ana Zamora’s Nao d’amores. His article takes her company as a case study for new methodologies of performance, including puppets, which directors and actors are using to shape the canon of classical performances. In the interview, Zamora expands upon this discussion, pointing to the ways in which productions of Renaissance theatre break with audience expectations, and somewhat paradoxically bring new life and interest to the classics by reviving works that are older and less well known. e second part of the book, ‘Entrevistas Breves’, consists of forty short interviews, each opening with a snapshot of individual philosophies regarding the comedia. is collection is thus unique...