2015 International Siglo de Oro Drama Festival Coordinated by Anna-Lisa HallingIn 2015, the Chamizal National Memorial in El Paso, Texas, celebrated forty years of Golden Age productions as it hosted both professional and student troupes from Spain, Colombia, Mexico, and the United States. The festival ran from Wednesday, March 18, through Sunday, March 22, and featured five unique performances by four very different companies. Performances by these groups ranged from the recreation of a baroque celebration (iFiesta!) to theatrical adaptations of both a novel and a novella (El buscon and El coloquio de los perros), as well as a pastoral play (El amor enamorado) and a tonadilla ( Villa y Corte-The Music of Goya). Far from the usual comedia fare, these productions not only include a wide variety of genres, but also artistic vision, thus creating a rich and diverse experience for the spectators.iFiesta!It is not without reason that Morfeo Teatro has recently become a perennial presence at the Chamizal National Memorial's Siglo de Oro festival. In this production, the company's minimalist approach to sets and scenery, attention to visual detail, incorporation of a variety of genres of early modern theater, and clear respect for the texts that they bring to life all demonstrate a production approach that aligns well with the stated objective of the festival. In his opening statement in the event program, Fernando "Gus" Sanchez, the park superintendent, indicated that the purpose of the event was to increase the public's awareness and appreciation of "the rich tradition of the drama from Spain's Golden Age" through "a significant encounter with the performing arts."Each member of this small company shoulders a variety of roles, and the quality of the production demonstrates the success of their cooperation. The artistic decisions of the company's director, Francisco Negro (who also played the role of the lead actor in the majority of the pieces presented), paralleled rather than duplicated those of a comedia production in a corral theater. Scenery and props consisted of such basic items as a chair, a few pieces of rope, a fan, and a semitransparent scrim. The use of lighting changes and fog added a modern touch to the production and effectively augmented the audience's response to emotionally charged scenes. Each of these staging techniques drew audience focus to the actors and the dramatic texts themselves. The actors took advantage of and heightened this attention through the very deliberate, considered physicality of their interpretations. The combination of these elements was particularly apparent in the selected scene from Lope de Vega's El caballero de Olmedo. Dim lights, enough fog to initially obscure a dancer portraying a physical representation of the death omen that Alonso sees, and a musical adaptation accompanying the lines all combined to make Alonso's death a particularly frenetic and emotionally draining scene.The attention to detail paid to the various visual representational elements speak to the talent and precision of Mayte Bona (who also portrayed a variety of female characters) as a costume designer. The masks worn by the actors at various moments throughout the production were a beautifully detailed nod to the influence of the commedia dell'arte tradition. At the outset, they contributed to the element of mystery created by the cast as the actors stepped onto the stage in front of the main curtain, speaking while the audience wondered what lay behind the curtain and ahead in the play. Rather than relying on costume changes to mark scene transitions, each actor maintained a single costume throughout the production. To adjust for dramatic differences in character types, the costumes incorporated added elements like a manto, a hat, an eyepatch, a tucked-up skirt hem to make a respectable lady's dress short and revealing, and a particularly memorable tied-on apron that transformed a galan into a nagging wife. …

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2015 年国际 Siglo de Oro 戏剧节由 Anna-Lisa Halling 协调

由 Anna-Lisa Halling 协调的 2015 年国际 Siglo de Oro 戏剧节 2015 年，德克萨斯州埃尔帕索的 Chamizal 国家纪念馆庆祝了四十年的黄金时代制作，因为它接待了来自西班牙、哥伦比亚、墨西哥和美国的专业和学生剧团状态。音乐节从 3 月 18 日星期三一直持续到 3 月 22 日星期日，由四家截然不同的公司进行五场独特的表演。这些团体的表演范围从重现巴洛克式的庆祝活动 (iFiesta!) 到戏剧改编的小说和中篇小说 (El buscon 和 El colloquio de los perros)，以及田园剧 (El amor enamorado) 和tonadilla（别墅和科尔特-戈雅的音乐）。与通常的喜剧节目不同，这些作品不仅包括多种类型，还包括艺术视野，从而为观众创造了丰富多样的体验。iFiesta! 莫菲欧剧院最近成为沙米扎尔国家纪念馆的 Siglo de Oro 节的常客并非没有原因。在这部作品中，该公司对布景和布景的极简主义方法、对视觉细节的关注、对早期现代戏剧的各种流派的融合以及对他们赋予生活的文本的明确尊重，都展示了一种与现代戏剧完美契合的制作方法。明确的节日目标。公园负责人费尔南多·“古斯”·桑切斯在活动节目的开幕词中表示，活动的目的是通过“提高公众对“西班牙黄金时代丰富的戏剧传统”的认识和欣赏。演员们通过对他们的解释进行深思熟虑、经过深思熟虑的身体性来利用并加强这种关注。这些元素的组合在 Lope de Vega 的 El caballero de Olmedo 的选定场景中尤为明显。昏暗的灯光、足够的雾气让舞者一开始就模糊了阿隆索所看到的死亡预兆的物理表现，以及伴随这些台词的音乐改编，所有这些结合起来使阿隆索的死亡成为一个特别疯狂和令人精神崩溃的场景。各种视觉表现元素都在诉说着Mayte Bona（她还描绘了各种女性角色）作为服装设计师的才华和精确度。演员在整个制作过程中不同时刻所戴的面具是对艺术喜剧传统影响的精美细致的致敬。一开始，当演员们走上主幕前的舞台时，他们为演员们创造的神秘元素做出了贡献，而观众则想知道幕后和剧中的前方是什么。每个演员在整个制作过程中都保持着一套服装，而不是依靠服装的变化来标记场景过渡。为了适应人物类型的戏剧性差异，服装加入了一些附加元素，如披风、帽子、眼罩、褶皱裙摆，使受人尊敬的女士礼服短而暴露，特别令人难忘的系带围裙改变了一个加兰变成一个唠叨的妻子。... 艺术传统。一开始，当演员们走上主幕前的舞台时，他们为演员们创造的神秘元素做出了贡献，而观众则想知道幕后和剧中的前方是什么。每个演员在整个制作过程中都保持着一套服装，而不是依靠服装的变化来标记场景过渡。为了适应人物类型的戏剧性差异，服装加入了一些附加元素，如披风、帽子、眼罩、褶皱裙摆，使受人尊敬的女士礼服短而暴露，特别令人难忘的系带围裙改变了一个加兰变成一个唠叨的妻子。... 艺术传统。一开始，当演员们走上主幕前的舞台时，他们为演员们创造的神秘元素做出了贡献，而观众则想知道幕后和剧中的前方是什么。每个演员在整个制作过程中都保持着一套服装，而不是依靠服装的变化来标记场景过渡。为了适应人物类型的戏剧性差异，服装加入了一些附加元素，如披风、帽子、眼罩、褶皱裙摆，使受人尊敬的女士礼服短而暴露，特别令人难忘的系带围裙改变了一个加兰变成一个唠叨的妻子。... 当观众想知道幕后和剧中的前方是什么时，他正在讲话。每个演员在整个制作过程中都保持着一套服装，而不是依靠服装的变化来标记场景过渡。为了适应人物类型的戏剧性差异，服装加入了一些附加元素，如披风、帽子、眼罩、褶皱裙摆，使受人尊敬的女士礼服短而暴露，特别令人难忘的系带围裙改变了一个加兰变成一个唠叨的妻子。... 当观众想知道幕后和戏剧的前方是什么时。每个演员在整个制作过程中都保持着一套服装，而不是依靠服装的变化来标记场景过渡。为了适应人物类型的戏剧性差异，服装加入了一些附加元素，如披风、帽子、眼罩、褶皱裙摆，使受人尊敬的女士礼服短而暴露，特别令人难忘的系带围裙改变了一个加兰变成一个唠叨的妻子。... 褶裥的裙摆使受人尊敬的女士连衣裙短而暴露，特别令人难忘的系带围裙将加兰变成了唠叨的妻子。... 褶裥的裙摆使受人尊敬的女士连衣裙短而暴露，特别令人难忘的系带围裙将加兰变成了唠叨的妻子。...