Abstract
espanoliguiendo la breve senda del Romanticismo teatral espanol inaugurada con La conjuracion de Venecia, ano de 1310 de Martinez de la Rosa, el Macias de Larra y Don Alvaro o la fuerza del sino del duque de Rivas; el ilustre Joaquin Francisco Pacheco presenta ante el publico su tragedia Alfredo. Si bien el drama no alcanzo el reconocimiento de sus predecesores, el autor demuestra su maestria escenica disponiendo de la musica como un elemento fundamental dentro de la espectacularidad global de la pieza y del decurso dramatico. Pacheco ubica perfectamente las dos intervenciones del Romance del peregrino en el conjunto del drama consiguiendo que una misma pieza musical potencie la dramaturgia en direcciones opuestas EnglishFollowing the brief history of Spanish theatrical Romanticism inaugurated with La conjuracion de Venecia, ano de 1310 by Martinez de la Rosa, Macias by Larra and Don Alvaro o la fuerza del sino by duque de Rivas; the illustrious Joaquin Francisco Pacheco presents his tragedy Alfredo to the public. Although the drama never reached the recognition of its predecessors, the author demonstrates his scenic mastery by drawing on music as a fundamental element within the overall spectacle of the piece and the dramatic discourse. Pacheco perfectly places the two interventions of the Romance del peregrino in the drama, such that the same musical piece can drive the drama in opposite directions
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.