Imagen, cuerpo y representación de la mujer en Eurídice y Orfeo de Antonio de Solís
Eurídice became the main character in Eurídice y Orfeo by Antonio de Solís, staged in Pamplona in 1643 and adapted to be performed at Coliseo del Buen Retiro in 1655. The playwright created a love-honour-jelalousy conflict based on Eurídice. But in her baroque characterization for stage, several que...
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| Format: | Article |
| Language: | Spanish |
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Presses universitaires du Mirail
2022-04-01
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| Series: | Criticón |
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| Online Access: | http://journals.openedition.org/criticon/21304 |
| _version_ | 1797692631087579136 |
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| author | Natalia Fernández Rodríguez |
| author_facet | Natalia Fernández Rodríguez |
| author_sort | Natalia Fernández Rodríguez |
| collection | DOAJ |
| description | Eurídice became the main character in Eurídice y Orfeo by Antonio de Solís, staged in Pamplona in 1643 and adapted to be performed at Coliseo del Buen Retiro in 1655. The playwright created a love-honour-jelalousy conflict based on Eurídice. But in her baroque characterization for stage, several questions linked to the limits of art and the representation of women came into light and activated some epistemological problems which were essential to Seventeenth century worldview regarding body-image and life-art dialectics. In Coliseo’s rendition Solís could moreover profit from a number of performing options not only in order to intensify the visual power of mythological fest but also deepen into tensions about the representation of the female which also appeared in poetry and visual arts. |
| first_indexed | 2024-03-12T02:31:22Z |
| format | Article |
| id | doaj.art-ecebb3aefbd54d90a84e4fd56a9cc756 |
| institution | Directory Open Access Journal |
| issn | 0247-381X 2272-9852 |
| language | Spanish |
| last_indexed | 2024-03-12T02:31:22Z |
| publishDate | 2022-04-01 |
| publisher | Presses universitaires du Mirail |
| record_format | Article |
| series | Criticón |
| spelling | doaj.art-ecebb3aefbd54d90a84e4fd56a9cc7562023-09-05T08:05:22ZspaPresses universitaires du MirailCriticón0247-381X2272-98522022-04-01144698610.4000/criticon.21304Imagen, cuerpo y representación de la mujer en Eurídice y Orfeo de Antonio de SolísNatalia Fernández RodríguezEurídice became the main character in Eurídice y Orfeo by Antonio de Solís, staged in Pamplona in 1643 and adapted to be performed at Coliseo del Buen Retiro in 1655. The playwright created a love-honour-jelalousy conflict based on Eurídice. But in her baroque characterization for stage, several questions linked to the limits of art and the representation of women came into light and activated some epistemological problems which were essential to Seventeenth century worldview regarding body-image and life-art dialectics. In Coliseo’s rendition Solís could moreover profit from a number of performing options not only in order to intensify the visual power of mythological fest but also deepen into tensions about the representation of the female which also appeared in poetry and visual arts.http://journals.openedition.org/criticon/21304EurydiceSolís Antonio demythological comediabodyimagerepresentation |
| spellingShingle | Natalia Fernández Rodríguez Imagen, cuerpo y representación de la mujer en Eurídice y Orfeo de Antonio de Solís Criticón Eurydice Solís Antonio de mythological comedia body image representation |
| title | Imagen, cuerpo y representación de la mujer en Eurídice y Orfeo de Antonio de Solís |
| title_full | Imagen, cuerpo y representación de la mujer en Eurídice y Orfeo de Antonio de Solís |
| title_fullStr | Imagen, cuerpo y representación de la mujer en Eurídice y Orfeo de Antonio de Solís |
| title_full_unstemmed | Imagen, cuerpo y representación de la mujer en Eurídice y Orfeo de Antonio de Solís |
| title_short | Imagen, cuerpo y representación de la mujer en Eurídice y Orfeo de Antonio de Solís |
| title_sort | imagen cuerpo y representacion de la mujer en euridice y orfeo de antonio de solis |
| topic | Eurydice Solís Antonio de mythological comedia body image representation |
| url | http://journals.openedition.org/criticon/21304 |
| work_keys_str_mv | AT nataliafernandezrodriguez imagencuerpoyrepresentaciondelamujereneuridiceyorfeodeantoniodesolis |