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Man of the Theatre: Stage Performances of T. S. Eliot’s Work in Spain (1949–2016)

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dc.contributor.authorLlorens Cubedo, Didac
dc.date.accessioned2024-10-03T11:35:43Z
dc.date.available2024-10-03T11:35:43Z
dc.date.issued2021
dc.descriptionThe registered version of this article, first published in “Neophilologus 105, 555–57", is available online at the publisher's website: Springer, https://doi.org/10.1007/s11061-021-09696-4 La versión registrada de este artículo, publicado por primera vez en “CNeophilologus 105, 555–57", está disponible en línea en el sitio web del editor: Springer, https://doi.org/10.1007/s11061-021-09696-4
dc.description.abstractT. S. Eliot’s presence in Spanish theatres has taken various forms. His verse drama enjoyed a relative popularity in the late 1940s and in the 1950s: Murder in the Cathedral, The Family Reunion and The Cocktail Party were staged by student and amateur groups, “chamber” companies and even a national theatre. Reviews were ambivalent, most of them finding fault with the plays’ poetic density as an impediment for performance. Although, as a conservative Anglo-Catholic, Eliot was a priori an unproblematic author for the Francoist establishment and its censorship, critics loyal to Spanish National Catholicism were uncomfortable with the tragic fatalism of The Family Reunion, or with the non-judgemental treatment of adultery in The Cocktail Party. When Eliot’s plays were losing their appeal from the late 1950s onwards, only Murder in the Cathedral was occasionally performed in Spain. More recently, intermedial transpositions and dramatizations of Eliot’s poetry have consolidated his image as a great influential poet whose drama is a rarity.en
dc.description.versionversión final
dc.identifier.citationLlorens-Cubedo, D. Man of the Theatre: Stage Performances of T. S. Eliot’s Work in Spain (1949–2016). Neophilologus 105, 555–571 (2021). https://doi.org/10.1007/s11061-021-09696-4
dc.identifier.doihttps://doi.org/10.1007/s11061-021-09696-4
dc.identifier.issn1572-8668, 0028-2677
dc.identifier.urihttps://hdl.handle.net/20.500.14468/23883
dc.journal.issue4
dc.journal.titleNeophilologus
dc.journal.volume105
dc.language.isoen
dc.page.final571
dc.page.initial555
dc.publisherSpringer
dc.relation.centerFacultades y escuelas
dc.relation.departmentFilologías Extranjeras y sus Lingüísticas
dc.relation.isreferencedbyThe research resulting in this article relates to the project “T. S. Eliot’s Drama from Spain: Translation, Critical Study, Performance (TEATREL-SP),” funded by the Spanish Ministerio de Ciencia, Innovación y Universidades and by the European Regional Development Fund (PGC2018-097143-A-I00).
dc.rightsinfo:eu-repo/semantics/openAccess
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/deed.es
dc.subject55 Historia::5505 Ciencias auxiliares de la historia::5505.10 Filología
dc.subject.keywordsT. S. Elioten
dc.subject.keywordsdramaen
dc.subject.keywordsstage productionsen
dc.subject.keywordsdramatised poetryen
dc.subject.keywordsreceptionen
dc.subject.keywordsSpainen
dc.titleMan of the Theatre: Stage Performances of T. S. Eliot’s Work in Spain (1949–2016)es
dc.typeartículoes
dc.typejournal articleen
dspace.entity.typePublication
relation.isAuthorOfPublication489e9ab0-80ac-4973-8b7e-3c36bd85a4c6
relation.isAuthorOfPublication.latestForDiscovery489e9ab0-80ac-4973-8b7e-3c36bd85a4c6
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