Tradición, modernidad y transgresión en las artes Escénicas Españolas durante el franquismo: Víctor cortezo y la Escenografía de la Cena del Rey Baltasar (1939-1954)
[EN] The Autos sacramentales reached their second splendour period during the «first Francoism», given their propagandist power. Their connections to the Empire, their evocation of a glorious past, and their political and religious resonances associated them with the prevailing National Catholicism....
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2018 |
| País: | España |
| Institución: | Consejo Superior de Investigaciones Científicas (CSIC) |
| Repositorio: | DIGITAL.CSIC. Repositorio Institucional del CSIC |
| OAI Identifier: | oai:digital.csic.es:10261/195799 |
| Acceso en línea: | http://hdl.handle.net/10261/195799 |
| Access Level: | acceso abierto |
| Palabra clave: | Escenografía Franquismo Tradición Tradition Transgression Theatre Teatro Scenography Costume design Figurinismo Francoism |
| Sumario: | [EN] The Autos sacramentales reached their second splendour period during the «first Francoism», given their propagandist power. Their connections to the Empire, their evocation of a glorious past, and their political and religious resonances associated them with the prevailing National Catholicism. These were played in several of the dictatorship official acts, and some of them, such as those with sceneries created by painter Victor Cortezo, introduce some controversial features which have linked their art to a modernity which was rarely seen during this period. The painter’s creations also highlight the performing arts’ capacity of transgression within the strictness of the Franco dictatorship. |
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