Lo Fingido Verdadero (Acting is Believing) [Michael D. McGaha, Lope de Vega] on *FREE* shipping on qualifying offers. “Lo fingido verdadero de Lope de Vega.” Dir. Claudio Hochman. Comedia Performance: Journal of the Association for Hispanic Classical Theater Lope de Vega, “Lo fingido verdadero. Acting is Believing”, trans. Michael D. McGaha (Book Review). J. M. RUANO DE LA HAZA.
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In Obras de Lope de Vegaed. View freely available titles: It is produced in a clear style and crisp language that makes reading easy without sacrificing accuracy.
Lo fingido verdadero
You must be logged in to add tags. It is a vigorous and lively translation written with an eye on a contemporary audience who may wish to see it performed.
This is an assessment that should be taken into account in the debate between those who see Lope as protagonist for the existing regime and those who would move away from such a view explaining that his plays embody the tensions and contradictions inherent in his society.
In response to this treachery, Diocletian kills Aper, and is crowned the next emperor. The Emperor has no other choice as it is the law, and he orders Genesius executed and his acting troupe exiled from Rome.
Last updated on 4 October A selective bibliography follows the introduction. Diocletian, having enjoyed the first play, hears that Genesius is an even better actor when playing the part of a Christian, so he orders the troupe to perform again. Trinity University Press, Once they return, they reveal that they have been married, but Genesius still hopes to win her back. For example, McGaha’s “Your Spanish-style puns are a pain in the ass” p.
The next in line to be emperor, Numerianus, is murdered by Aper, who desires the throne. His pronouncements on theory parallel and even paraphrase, according to McGaha, Lope’s Arte nuevo. Lo fingido verdadero c. Genesius, who converted to Christianity while performing for the emperor Diocletian, and was executed.
It is the Spanish Golden Age play that best exemplifies the world-as-stage metaphor brought to life onstage. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Kurt y Roswitha Reichenberger Lope de Vega.
There are occasions when the vigor and modernity of the translation obscures the grace and subtlety of the original, but these are few. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves. Trinity University Press has assumed a leading role in publishing new translations using the expertise of David Gitlitz, Matthew Stroud and now Michael D.
In A Companion to Lope de Vegaeds.
Project MUSE Mission Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.
Bulletin of the Comediantes. Genesius, executed by the emperor Diocletian for converting to Christianity after portraying a Fingldo in a play to entertain the Emperor.
Kenneth Muir and Ann L. Emilio Cotarelo y Mori, vol. Diocletian asks Genesius if he is really acting or if he has indeed converted to Christianity, and Genesius becomes ever more impassioned in his love for Christ.
Lo fingido verdadero – Wikipedia, la enciclopedia libre
Acting is Believing review Frederick A. You must be logged in to post a comment. Finding her impervious to his advances, Genesius is hopelessly in pope and distraught. During the last few years, a growing number of translations of lesser known Spanish Golden Age plays have appeared on both sides of the Atlantic.
Lo fingido verdadero – Out of the Wings
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Although many outside the field of the comedia may not know this play, McGaha argues that it is ideally suited to serve as an introduction to this Spanish playwright: Genesius dies impaled on a pole, and he remains a devoted Christian in his dying monologue, finigdo his acting troupe redistribute the roles and plan how they will carry on performing without him. It is truly a fine introduction to the comedia, to the playwright and to a play that he sees as an ideal introduction to Lope’s art.
After considering the date of composition, McGaha goes on to discuss dramatic theory as reflected in the play, for Lope here departs from tradition by making Genesius, the lead character, a playwright as well as an actor. Entry written by Kathleen Jeffs. McGaha’s introduction is a model of succinctness, readability and accuracy. Built on the Johns Hopkins University Campus.