Don Juan Tenorio in the Campo de Cebada: restaging urban space after 15-M.
The spectacle of the encampments that occupied public plazas throughout Spain during the 15-M protests of 2011 asserted what urban theorist Henri Lefebvre (1968) and others have called the “right to the city.” In a similar vein, the free open-air performances on All Saints' Day in 2011 and 2012 of J...
| Publicado en: | Journal of Spanish Cultural Studies Vol. 15; no. 1/2; pp. 143 - 160 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Mar-Jun2014
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=101805161&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 101805161 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 14636204 B9W jtl: Journal of Spanish Cultural Studies issn: 14636204 maglogo: N pubinfo: dt: Mar-Jun2014 vid: 15 iid: 1/2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 101805161 10.1080/14636204.2014.931673 ppf: 143 ppct: 17 formats: fmt: – @attributes: type: T db: hlh ui: 101805161 – @attributes: type: P db: hlh ui: 101805161 tig: atl: Don Juan Tenorio in the Campo de Cebada: restaging urban space after 15-M. aug: au: Feinberg, Matthew I. affil: Department of Hispanic Studies, Oberlin College, Oberlin, OH, USA su: Don Juan Tenorio (Theatrical production) Zorrilla, José, 1817-1893 Public spaces Cities & towns Theater sug: subj: Public spaces Cities & towns Theater Don Juan Tenorio (Theatrical production) Zorrilla, José, 1817-1893 keyword: 15-M Campo de Cebada Don Juan Tenorio Henri Lefebvre participatory urbanism 15-M Campo de Cebada Don Juan Tenorio Henri Lefebvre participatory urbanism ab: The spectacle of the encampments that occupied public plazas throughout Spain during the 15-M protests of 2011 asserted what urban theorist Henri Lefebvre (1968) and others have called the “right to the city.” In a similar vein, the free open-air performances on All Saints' Day in 2011 and 2012 of José Zorrilla'sDon Juan Tenorioby the theater collective AlmaViva Teatro in the self-managed neighborhood space called the Campo de Cebada have also been an effort to reclaim urban space. These performances calledDon Juan Tenorio en La Cebadaare notable not only for their use of a repurposed vacant lot left abandoned in the wake of the financial crisis but also for their dynamic staging that required the public to move throughout the large vacant lot for each of the play's seven acts. As the public traversed the reappropriated space of the Campo de Cebada, the performance was framed by the urban backdrop created by the bright lights of the Teatro Latina and the adjacent residential apartment buildings. This movement of the public not only foregrounded the trope of mobility evoked by the shifting dramatic spaces within Zorrilla's work but also the mobile and changing character of urban space produced by the perpetual investment and divestment of speculative capital. Just as Don Juan Tenorio journeys from the physical world to the spiritual one and moves from a secular space of individualism to the communal space of heaven, these performances have created an urban experience that promotes community and connection that stands in stark contrast to the cold, individualistic logic of mobile capital and real estate speculation that characterized the economic bubble that preceded the current crisis. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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