-
Title
-
VALLE-INCLAN IN 1920: DISRUPTION, DEHUMANIZATION, DEMYSTIFICATION (RAMON DEL VALLE-INCLAN, SPAIN).
-
Identifier
-
AAI8508746
-
identifier
-
8508746
-
Creator
-
WEISS, ROSEMARY SHEVLIN.
-
Contributor
-
Daniel C. Gerould
-
Date
-
1985
-
Language
-
English
-
Publisher
-
City University of New York.
-
Subject
-
Theater | Literature, Romance
-
Abstract
-
In 1920, Ramon del Valle-Inclan published four new plays: Farsa italiana de la enamorada del rey, Farsa y licencia de la Reina Castiza, Divinas palabras, and Luces de bohemia. These works disrupt, dehumanize, and demystify the imagined, unrealistic worlds of his earlier plays, which were based on legend, myth, history, or literary models. Valle-Inclan shatters the illusions on which these worlds were based, reduces their characters to animals to reveal their inner ugliness, and strips superstitious and religious traditions of their mystery, magic, and power.;In La enamorada del rey, Valle-Inclan disrupts the dream worlds of his pre-1920 plays. The old woman of Tragedia de ensueno never questioned her cruel fate; the Captain of thieves of Comedia de ensueno left his worldly goods in search of an ideal; Concha of El marques de Bradom(')in, the Princess of Cuento de abril, and Prince Verdemar and Princess Blanca Flor, of Farsa infantil de la cabeza del dragon, survived threats to their artificial worlds; Ginebra of Voces de gesta never lost faith in the worthiness of her doomed cause. But Mari-Justina of Farsa italiana de la enamorada del rey has her dreams shattered, her world disrupted, when she faces the truth and recognizes the object of her devotion to be a feeble, hunchbacked, large-nosed, doddering, ugly old man.;In Farsa y licencia de la Reina Castiza, Valle-Inclan dehumanizes the court world and noble class of La Marquesa Rosalinda, turning its characters into animals to reveal their inner ugliness.;In Divinas palabras, Valle-Inclan demystifies the legendary world of his native Galicia. The house of Montenegro, already degenerated in Aguila de blason, loses all vestiges of greatness in Romance de lobos with the death of Don Juan Manuel Montenegro. The myth and magic of El embrujado is, with the exception of the paradoxical power of the divine words, essentially gone in Divinas palabras.;In Luces de bohemia, Valle-Inclan presents a contemporary world already disrupted, dehumanized, and demystified. He calls for a new literary form, the esperpento, to capture the grotesque deformation of this new world.
-
Type
-
dissertation
-
Source
-
PQT Legacy CUNY.xlsx
-
degree
-
Ph.D.
-
Program
-
Theatre
