Show simple item record

Parodias españolas sobre Tannhäuser (1890)

dc.contributor.authorSuárez García, José Ignacio 
dc.contributor.editorCortizo Rodríguez, María Encina 
dc.contributor.editorNiccolai, Michela
dc.date.accessioned2021-09-13T08:48:15Z
dc.date.available2021-09-13T08:48:15Z
dc.date.issued2021
dc.identifier.citationSuárez García, J. I., Cortizo Rodríguez, M. E. y Niccolai, M. (2021) Parodias españolas sobre Tannhäuser (1890). En M. E. Cortizo, M. Niccolai (Eds.) Singing Speech and Speaking Melodies Minor Forms of Musical Theatre in the 18th and 19th Century (pp. 477-518). Turnhout (Belgium) : Brepols
dc.identifier.isbn978-2-503-59543-6
dc.identifier.urihttp://hdl.handle.net/10651/60392
dc.description.abstractThe parody is a form of expression that shows the influence of Wagner in Spain from multiple approaches, in which the imitation tends to possess a very rich tropological and often intertextual complexity. In this sense, and in a manner analogous to graphic humour in the periodical press, parody has the ability to synthesize complex issues on the stage, such as political events, social customs, etc., revealing itself as an inexhaustible source for the reconstruction of public opinion, mentalities and behaviours. Through it one can identify closely the most important issues and events in the history of a country, which the parodist treats in a tendentious way, this being one of the basic techniques to provoke laughter. In this mould are the zarzuela Tannhäuser el estanquero, and its continuation, Tannhäuser cesante, both of 1890 with lyrics by Eduardo Navarro Gonzalvo and music by Gerónimo Giménez; its background is a sharp satire of the take-turns system, characteristic of the Spanish policy during the Borbón Restoration. The basic objective of this chapter is to analyse both zarzuelas, appropriately explaining their complex tropological complexity, identifying their intertextual content (especially the Wagner’s quotations), determining the presence of common trends with other Spanish parodies and finally, studying its social impact through its reception in public and in press.spa
dc.format.extentp. 477-518spa
dc.language.isospaspa
dc.publisherBrepolsspa
dc.relation.ispartofSinging Speech and Speaking Melodies: Minor Forms of Musical Theatre in the 18th and 19th Centuryspa
dc.relation.ispartofseriesSpeculum Musicae;43
dc.rights© 2021 Brepols Publishers NV/SA
dc.subjectRichard Wagner (reception in Spain, XIX century)spa
dc.subjectParodiesspa
dc.subjectGerónimo Giménez Bellidospa
dc.subjectEduardo Navarro Gonzalvospa
dc.subjectPráxedes Mateo Sagastaspa
dc.subjectAntonio Canovasspa
dc.subjectBorbón Restorationspa
dc.subjectTake-turns systemspa
dc.titleParodias españolas sobre Tannhäuser (1890)spa
dc.typeinfo:eu-repo/semantics/bookPartspa
dc.type.dcmitextspa
dc.relation.projectIDMicrohistoria de la música española contemporánea: periferias internacionales en diálogo (Referencia: PGC2018-098986-B-C32)spa


Files in this item

FilesSizeFormatView

There are no files associated with this item.

This item appears in the following Collection(s)

Show simple item record