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mea. Performed as it was written at the Teatro Español. Produced by Cayetona Luca de Tena, with María Jesús Valdés and Guillermo Marín.—Sfanish Cultural Index, No. 76 (May 1, 1952), 32. Id. La devoción de la Cruz (drama) and El Arca de Dios, cautiva (auto sacramental), translated by Rev. Father Hubert Rüttger, of Köttingen-Liblar, in honor of Cardinal Frings of Cologne.—Sfanish Cultural Index No. 80 (Sep. 1, 1952), 80. Id. El gran teatro del mundo. By the Compañía Lope de Vega, directed by José Tamayo.—Mundo Hisfánico, Nos. 50-51 (May-June, 1952), 37. Id. El gran teatro del mundo. By the Orvieto Instituto del Dramma Sacro, directed by Arnaldo Fabriani, in collaboration with the Spanish Institute of Language and Literature in Rome. Italian version by Luciano Folgore.—Sfanish Cultural Index, No. 79 (Aug. 1, 1952), 90. Id. El mágico frodigioso. By the Sheffield Educational Settlement, in The Little Theatre, Sheffield. English version, "The Mighty Magician," by Denis Florence McCarthy .—Sfanish Cultural Index, No. 78 (July 1, 1952), 102 and No. 79 (Aug. 1. 1952), 91. Id. El fie- o matrimonial entre el alma y e', euerfo. On May 28, 1952, in El Templo de la Sagrada Familia, for the Congreso Eucaristico. Versión escénica de Juan Germ án Schroeder. Directed by Esteban Polls. —Indire de Artes y Letras, Año 7, No. 52 (June 15, 1952), 13, and Razón y Fe, CXLVI, Nos. 654-655 (July-Aug., 1952), 2? (Here, J. M. Granero, in "El Congreso Eucaristico de Barcelona," mentions three performances of the auto.). See Cervantes, Maret. Les malices deu gran Pedro [Pedro de Urdemalas], at Brussels, December 11, 1947.—Fr. Manuel Penedo Rey, Estudios, VIII, No. 23 (MayAug ., 1952), 437-439. Cervantes. El rujian dichoso. By the Orvieto Instituto del Dramma Sacro. Italian translation by Andrea Salimbeni.—Sfanish Cultural Index, No. 79 (Aug. 1, 1952), 90. Ruiz de Alarcón. La verdad sosfechosa. Given in Spanish by the Romance Seminar University of Munich, in the Hall of the Scholastic Academic Association.—Sfanish Cultural Index, No. 79 (Aug. 1, 1952), 91. See Tirso de Molina, Maret. L'Amant timide [El vergonzoso en falacto]. At Brussels , February 24, 1949.—Fr. Manuel Penedo Rey, Estudios, Vili, No. 23 (MayAug ., 1952), 437-439. Valdivielso, José de. El hosfital de los locos. By the Compañía María Guerrero de Madrid. Directed by Luis Escobar.—Mundo Hisfánico, Nos. 50-51 (May-June, 1952), 37. Vega. Lope de. Fuenteovejuna. By the Experimental Theater of the University of Chile at the Santiago Municipal Theater. With María Cánepa.—Sfanish Cultural Index , No. 80 (Sept. 1, 1952), 80. Id. Fuenteovejuna. Adapted by Rambal. At the Teatro Lope de Vega. La moza de cantaro. With María Jesús Valdés. At the Teatro Español.—Personal report by Bruce W. Wardropper. Vicente. Gil. Dom Duardos. O juiz da Beira. Given by the Teatro do Povo, Summer , 1952.—Personal report from Portugal by Gerald M. Moser. Id. Farça dos físicos. An Italian Radio broadcast. Italian prose version by Enzio de Poppa.—G. M. M [oser], Hisfania XXV, No. 4 (Nov., 1952), 464. The Madrid Theatre Season 1953 There are at present—the week of Feb.ruary 8—twenty theatres operating in Madrid . They offer nine farces, three musical revues, two undistinguished zarzuelas, one detective play, one English classic (VoIfone) badly adapted, one serious new play, Pilar Lopez's excellent ballet company, and two unclassifiable pieces. This picture of theatre life in Franco's Spain is, to judge by suc24 cessive barren weeks since October, typical. The Spanish classics do not draw audiences; good present-day playwrights, if they exist, do not find producers willing to face the censorship and handle their work. The public , meanwhile, is fed a diet of Carlos Llopis (La cigüeña dijo sí; La vida en un bloc . . . ) and translations of such English giants as Doddie Smith (this at the stateowned María Guerrero) and what is curiously called—even by American Embassy brochures—"folklore" (Conquístame; El trust T.R.I.S.-T.R.A.S.) In justice to the...


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