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obtrusively into a corner of the stage. Pepe Iglesias, "el Zorro," is an Argentine of Spanish parents. He does a Danny Kaye act with, I feel, even more resources than Danny. His best turn is a soccer broadcast sung in cante jondo style. Finally, since I am writing for the Comediantes , the classics. A scoundrel called simply Rambal put on a series of "grandes espectáculos" at the Lope de Vega. Sandwiched between a piece of gran guignol and a Sherlock Holmes play, he had the temerity to present Fuenteovejuna, adapted by Rambal to the Rambal style and the exigencies of the régime. It was a great spectacle, with a stunning dance at the end of the first Act (there were only two). The village plaza was amazingly complicated, like the Plaza Mayor in Madrid; the tortures (on stage), excruciating. The message—that the people is sovereign after the King—was delivered with proper emphasis. The titular company of the Español ran La moza de cántaro for a long time to empty houses. We shared the theatre with ten, countable people. The decision whether to show respect by applause or silence was a difficult one, and one that the round dozen of us never did satisfactorily solve. That great and lovely actress María Jesús Valdés did a fine job with the heroine, but the play was strangely disappointing. There were more scene shifts than in Antony and Cleopatra , and long hiatuses between scenes. Lope, it must be admitted, constructs some awfully bad plays. Yet the evening was saved by the beautiful poetical scene: "Aprended, flores, de mí." My prejudiced view that Lope was an exquisite poet who used the stage as a forum for recitations of his work was confirmed. I wait breathlessly for someone to tackle a Calderón drama. Don Juan Tenorio, a classic? It is read in American colleges, so it must be. I chose the Español version, for María Jesús Valdés was to be Doña Inés. No Dalí trickery this year: the audience vastly relieved that no one would monkey with the sacred text. Someone did, though. The sofa scene was played on a terrace. But one easily forgives a director's minor quirks. What hackneyed nonsense the play is! But how charming! It has everything: apparitions, broken hearts, bravado, the least subtle irony ever staged, and sex. Sexuality shared the ether with the ghosts: an aspect of the Tenorio that I had not realized when reading it. The house was packed and, when it was discovered at last that, contrary to the teachings of the Church, a woman's love really would save a man's soul, the applause was deafening. Eventually, no doubt, the theologians will toe the line. Capa y Espada Conducted by the Editor Work in Progress. Doctoral dissertations: John Peters, "An Edition of Monroy's Fuente-Ovejuna," (Ohio State) ; Diego Marin, "An Edition of Lope's El galán de la membrillo," (Toronto) ; Rafael J. Miranda "History and Geography in the Dramatic Works of Tirso de Molina," (North Carolina) ; John J. Reynolds, "An Edition of Tirso's El condenado for desconfiado" (Arizona) ; Carlos Rangel, "Nobleza de sangre y mérito personal en el teatro de Tirso," (Sorbonne). Performances. Three saínetes: La tierra de Jauja (Lope de Rueda), Manolo (Ramón de la Cruz), Los ricos (Carlos Arniches and a tonadilla (Blas de Laserna), at King's College, University of London, February 20, 1953. Moreto's El lindo don Diego at Milwaukee and Madison by the students and faculty of the University of Wisconsin, March 14, 16 and 17, 1953. La devoción de la cruz (Calderón), July, 1953, staged by Marcel Herrand. Doctoral dissertation completed: Gladstone R. Fluegge "Four farsas by Diego Sanchez de Badajoz (Farsa del matrimonio, Farsa de Santa Susana, Farsa de la hachicera, Farsa de la ventera), edited with Introduction 26 and Notes. (Toronto). Directed by Edmund de Chasca and Jack H. Parker. Research in Progress Mlle. Hélène Lalaurie is engaged in a textual study of Lope's autos and aims at a "travail d'ensemble" on Lope's autos comparing them...


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