In context of the conference series “Toledo, cine, literatura, historia”, Ángel del Cerro del Valle will be reading the paper “Fernando de Rojas y el entorno social de La Celestina“.
This event follows the screening of the 1969 film version by César Fernández Ardavín the last Wednesday, 11th January 2017. Unfortunately, we will not be able to attend, but for those in the vicinity, the conference takes place on Monday, 16th January 2017, from 19:00 to 21:00 at the Biblioteca de Castilla-La Mancha (Cuesta de Carlos V s/n, Toledo).
Some representations already are sold-out, so that I would be quick to book a ticket.
I just noticed that, apart from the presentation of Intertextualidades bíblicas en “Celestina”: devotio moderna y humanismo cristiano (Friday 25th of September, 19:30), there will be one more celestinesque event at the V Congreso Internacional Cervantino “Cervantes y los géneros literarios”, to take place from the 23rd to the 25th of September of 2015 at the Sociedad Cervantina de Madrid: Vincent Parello (Université Michel de Montaigne, Bourdeaux) will be giving on Friday, the 25th of September, at 16:00h, a paper intitled “Cervantes y el género celestinesco: ‘Apercíbete, a la primera voz que oyeres, tomar calças de Villadiego’ (Celestina, Auto XII, escena 3)”. The whole programme can be seen at the official website.
La Puebla de Montalbán Council has finally made available the official programme for the XVII Festival Celestina, to take place from the 21st to the 30th of August 2015. This year’s topic is still “La España de Rojas” and the adherence to Gilman’s views are particularly noticeable in two of the three conferences programmed, all of them to take place at Museo La Celestina: “Contexto histórico y personajes de la Celestina“ (Rodolfo de los Reyes and Pedro Velasco, 24th of August, 21:00) and “Magia y convivencia de las tres culturas en la España de Rojas” (José Carlos Sheni, 26th of August, 21:00). The remaining conference sounds promising for someone interested on the History of the Book as myself: “La Imprenta en la época de La Celestina” (Fermín de los Reyes, 29th August, 21:00).
Once again I will not be able to take part in the festival, neither as speaker nor as visitor, therefore, I invite you to send me your impressions, were you to attend it.
Once again, Celestina is poorly represented at this year’s congress of the Asociación Hispánica de Literatura Medieval (AHLM), which is taking place from the 21st to the 25th of September 2015 at the Universidade do Porto (Portugal). Amaranta Saguar (Universität Trier) will be giving the only paper on a purely celestinesque topic, entitled “Las imagines agentes de Celestina (II): la tradición iconográfica”, on Wednesday the 23th, during the sixth session of the congress and the first session of the day (09:00-10:30 a.m.). This paper is a continuation of the paper “Las imagines agentes de Celestina“, given in 2013 at the previous congress of the AHLM. At the same session, Juan Casas Rigall (Universidade de Santiago de Compostela) will also be talking about a celestinesque-related topic: “La marca de impresor de Fadrique de Basilea en la Celestina y otras estampas (1499-1516), con las naves de necios de fondo”.
As part of the summer theatre cycle Clásicos en verano, the company Pata Teatro will be staging Celestina at the I.E.S. Vicente Espinel in Málaga (Spain). The eighteenth century Patio de Arcos serves as the perfect setting for this new adaptation of the classic, which promises to be much more traditional and conservative than the previous 2015 versions Ojos de agua and Celestina: La Tragicomedia.
Performances take place from Tuesday to Saturday, from the 1st of July to the 8th of August, at 22:00. As the capacity of the Patio de Armas is limited to 150 spectators, it is highly recommended to book well in advance.
The last time I saw Celestina on stage, in the 2012 adaptation by Eduardo Galán, I had the impression the director had been deeply impressed by Martín de Riquer’s article on the opening scene taking place in a church1. This time I feel it has been Alan Deyermond’s “Hilado > Cordón > Cadena” which has greatly influenced Ricardo Iniesta’s adaptation2, as I think can be clearly seen in the staging of his version of Celestina. The blood-red skein becomes central during Celestina’s spell, who tangles and untangles it with her hands several times, and it is used to wrap and enclose Melibea during her talk with the old go-between. After that, Melibea’s girdle (a handkerchief in this version) is portrayed as a piece of bait Celestina moves in front of Calisto and has the same mesmerising effect as the skein had on Melibea. Finally, Calisto’s extra-long golden chain resembles very much the thread and the girdle, and not only does Celestina tangle it around her hands, but the servants Pármeno and Sempronio find it miraculously directly after her death, just before being executed, as if the sequence described by Alan Deyermond needed the addition of this discovery to be complete.
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