CHICKENSHIT (Chicken), Servant to Don Juan.
The translation is based on the 12th Cátedra edition of El burlador de Sevilla y convidado de piedra or Tan largo me lo fiáis, edited by Alfredo Rodríguez López-Vázquez (Madrid, 2003). The Lady-Killer of Seville and His Graven Guest, Or: To Death with Bated Breath , Don Juan, The Trickster of Seville (2006).The Trickster of Seville and the Stone Guest The Playboy of Seville, or Supper With a Statue
The Lady-Killer of Seville and His Graven Guest, Or: To Death with Bated Breath While the motivations behind the actions of the characters, especially those who are marginalized, are repurposed and remain a source of contention, the effects of their iconic debates continue to live on in an increasingly global and technically expansive imagination.El burlador de Sevilla (1616-1625), Tirso de Molina Despite these shifts and movements to new formats, these plays and their “echoes” continue to captivate audiences around the world and reinforce conversations related to modern motifs related to honor, society, and the human condition.
Tompkins refers to as the heterotopias of theater, and is a designation to denote plays which appear to be part of a canon of works deemed representative of their respective countries on and off stage. In this context, my use of the term national play encompasses what J. The promotion and maintenance of a complex system of “honor” in both Japan and Spain is a major point of contention through the plot and exposition of these dramatic works. Through this theme, I argue that comparative examinations of the motifs of spectacle, gender, and honor among media adaptations of the popular dramatic theatre of Golden Age (1492-1681) Spain and Edo Period (1603-1868) Japan can help to delineate current adaptation paradigms. I use national plays such as Fuenteovejuna (1612-1614), El burlador de Sevilla y convidado de piedra (1630), The Treasury of Loyal Retainers (Kanadehon Chūshingura 仮名手本忠臣蔵 c1748), and “Yotsuya Ghost Stories” (Tōkaidō Yotsuya Kaidan東海道四谷怪談1825) as models of classical Spanish and Japanese national media that foreground and debate the honor theme. Although previous literary and historical scholars have documented the enduring popularity of adaptations through archival methods, the literature to date lacks a robust comparative textual approach. Linda Hutcheon famously stated that with adaptations, audiences seem to “desire the repetition as much as the change”, and she notes that the relationship between an adaptation and its originating text is one which remains contentious.Affiliation: College of Arts and Sciences, Department of English and Comparative Literature.
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