Tag Archives: Music

Recent stagings of Celestina I feel curious about

CArtelaltaok[1]Since 2018 Bambalina Teatre Practicable is touring with their two-performers and several puppets staging of La Celestina. An adaptation by Jaime Policarpo, an actor and an actress impersonate all characters and interact with them on stage, their presence being represented by personalised puppets of their heads. The art of the figurines (character design) is quite interesting, with a dark air and hyperexpressive eyes, which seem to have been transferred to the puppets as well. I wonder if the staging and the text also share such an atmosphere. Unfortunately, I will have to keep wondering as there is no performance planned in my vicinity.

La_Celestina_TDC-0659e2[1]This is not the first staging of Celestina with puppets. The adaptation of Darío Galo for Carolina Calema, which I neither could see but has been reviewed in Celestinesca and can be watched for educational purposes –and with a horrible sound and image quality– in Youtube, has been touring Spain and Latin America from 2016 to 2018. In it, Carolina Calema played both the role of Celestina and of the puppeteer and storyteller, which conveyed a quite obvious symbolism: Celestina as the person behind the plot and directing the fates of all characters. In the case of the staging by Bambalina Teatre, it seems that the actors impersonate Calisto and Melibea, so that they are the only alive, human characters in a world of puppets controlled by someone else, with no will of their own, as well as the central point of the plot, unlike most modern stagings, in which Celestina tends to be the central character. However, nothing is explicitly said about this symbolism in the correspoding dossiers of Bambalina Teatre or Calema Producciones.

la-celestina-de-molto-vivace[1]Very different is my interest in the musical adaptation by Jesús García-Consuegra (music) and Marcos Fernández-Espartero (staging) for Molto Vivace, a chorus and occasional theatre company of the Spanish town of Daimiel (Ciudad Real). It consists of 17 songs that are conceived as a compromise between the 16 and the 21 acts of, respectively, the Comedia and the Tragicomedia, but which in reality correspond to each act of the 21-act version, with some adaptations. Considering that this musical adaptation is made for a chorus and a few solists, I am really curious about how the choir and the solists interact, how solists interact among them, and which characters they represent: Do solists impersonate more than one character or is it always the same? In that case, which are the individualised characters that solists impersonate? Moreover, how the text has been adapted to fit just 17 songs intrigues me: Which are the acts ommitted or merged? Does it follow the same principles as the opera adaptations of Celestina or does the chorus format require a different kind of adaptations? I have my suspicions but…

Therefore, I would be very grateful if someone could provide me with the text (I cannot start anything with music) and/or a recording of the above mentioned shows (and, in general, of any performance related to Celestina like, for example, this one or this another) with research purposes. Invitations would be most welcomed but, unfortunately, I am not very mobile and I am really busy at the time (if I were not, you can bet I would already have attended Celestina, puta vieja, the adaptation by Doriam Sojo for El burdel a escena).

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Experimental stage adaptations of Celestina

A musical one, supported by the Arts School De Oude Ambacht School (DOAS) at Zwolle:

And a dramatised reading at the Teatro de las Américas:

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Monday, 13th February 2017 · 10:27

Song: La Celestina – Lhasa de Sela

Composed by: Lhasa de Sela and Yves Desrosiers
Performed by: Lhasa de Sela
Album: La llorona (1997)


La Celestina (apparently, vaguely based on Celestina’s talks with Melibea)

M’hija quédate conmigo un rato
Porqué andas arrastrando esa desdicha
Espérame un momento y te desato
Pero, qué enredo te has puesto, muchachita
Qué amargos son los hechos que adivinas
Qué oscura es la ronda de tu recuerdo
Y en cuanto a tu corona de espinas
Te queda bien, pero la pagarás muy caro

Con tu mirada de fiera ofendida
Con tu vendaje donde herida no hay
Con tus gemidos de madre sufrida
Espantarás a tu última esperanza
Haz de tu puño algo cariñoso
Y haz de tu adiós un “ay mi amor”
Y de tu seña una sonrisita
Y de tu fuga un “ya voy ya voy llegando”

M’hija que pena me da de verte
Dejando olvidado a tu cuerpo
Muy lista, pobre boba, a dedicarte
A la eterna disección de un pecadillo

Mujer, desnúdate y estáte quieta
A ti te busca la saeta
Y es el hombre, al fin, como sangría
Que a veces da salud a veces mata
Y es el hombre, al fin, como sangría
Que a veces da salud a veces mata

Con tu mirada de fiera ofendida
Con tu vendaje donde herida no hay
Con tus gemidos de madre sufrida
Espantarás a tu última esperanza
Haz de tu puño algo cariñoso
Y haz de tu adiós un “ay mi amor”
Y de tu seña una sonrisita
Y de tu fuga un “ya voy ya voy llegando”

M’hija que pena me da de verte
Dejando olvidado a tu cuerpo
Muy lista, pobre boba, a dedicarte
A la eterna disección de un pecadillo

Mujer, desnúdate y estáte quieta
A ti te busca la saeta
Y es el hombre, al fin, como sangría
Que a veces da salud a veces mata
Y es el hombre, al fin, como sangría
Que a veces da salud y a veces

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Saturday, 5th October 2013 · 21:56

Song: Cuerpo de Melibea – Javier Krahe

Written by: Javier Krahe
Performed by: Javier Krahe
Album: Dolor de Garganta (1999)


Cuerpo de Melibea

Mi halcón, mi peregrino,
hoy me condujo a vos,
su vuelo es mi destino
y vos, Melibea, sois mi Dios.

Llamadme Melibeo
pues Melibeo soy,
en Melibea creo
y a vos Melibea adoro porque hoy,

hoy os vi desnuda en el jardín,
verde el altar, blanco el jazmín.

Cuerpo de maravilla,
¡oh hermosura sin par!,
hubiera gran mancilla
si al retrataros fuese vulgar.

Por eso no me atrevo
con mi rudo pincel,
nombre un poeta nuevo
todos los nombres de vuestra piel

que hoy os vi, desnuda en el jardín,
verde el altar, blanco el jazmín.

Abrióse vuestro manto,
no fue ciega mi fe,
dueña de todo encanto,
llena de gracia os contemplé.

Con vos me quedaría
pero mi sino es errar,
seréis la fe de un día
que día a día he de invocar.

La alondra ya alborea,
ya va de vuelo mi halcón,
cuerpo de Melibea,
ya toca fin a mi adoración.

¡Oh dulce anatomía!,
pues no os puedo llevar
por mi azorada vía,
llevo un trocito de vuelto altar

donde hoy os vi, desnuda en el jardín,
verde el altar, blanco el jazmín.

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Wednesday, 25th September 2013 · 17:40