Sueños para una nueva danza española: la dramaturgia de El desertor (1930), de Felipe Ximénez de Sandoval
[EN] In the literary work of Felipe Ximénez de Sandoval (1903-1978), we observe a special dedication to performing arts. Beyond his facet as playwright, he was in contact with the greatest Spanish musicians and was interested in Spanish dance. Thereby, he wrote two dramaturgies for ballet: El desert...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2019 |
| País: | España |
| Recursos: | Consejo Superior de Investigaciones Científicas (CSIC) |
| Repositorio: | DIGITAL.CSIC. Repositorio Institucional del CSIC |
| OAI Identifier: | oai:digital.csic.es:10261/224082 |
| Acesso em linha: | http://hdl.handle.net/10261/224082 |
| Access Level: | acceso abierto |
| Palavra-chave: | Spanish dance Ballet Dramaturgy Ballets Espagnols Danza española Dramaturgia |
| Resumo: | [EN] In the literary work of Felipe Ximénez de Sandoval (1903-1978), we observe a special dedication to performing arts. Beyond his facet as playwright, he was in contact with the greatest Spanish musicians and was interested in Spanish dance. Thereby, he wrote two dramaturgies for ballet: El desertor (1930), without representation, and La rosa viva (1966), choreographed by Mariemma. Although this last ballet’s location is unknown, El desertor was found in the archives of Antonia Mercé la Argentina. He created it for her with Gustavo Pitalluga’s music. This article studies the connection between the author and the Spanish dance and analyses the dramaturgy of this ballet. |
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