Next 29th and 30th of September 2021 the II Seminario Internacional HÍLICA “Tradición e hibridismo en la transmisión de la literatura española de los Siglos de Oro: géneros y formatos” will be taking place at the Universidad Complutense de Madrid.
According to the latest version of the programme published at the official website, there will be three papers on the iconography of Celestina being read on the first day of the event.
At 11:00 of the 29th of September, during the first session, M.ª Jesús LACARRA (Universidad de Zaragoza) and Amaranta SAGUAR GARCÍA (Universidad Complutense – Programa de Atracción de Talento) will be presenting “La ilustración en la Celestina: pervivencia de algunos grabados” and “¿A la italiana o a la alemana? Celestina, la recepción de Terencio en la temprana imprenta manual y la cuestión del género”, respectively. At 16:00, during the third session, Rafael BELTRÁN (Universitat de València) will be presenting “Sombras de Judas hasta La Celestina: imágenes híbridas de codicia, traición, suicidio y otras muertes trágicas”.
Some days ago I stumbled upon a poster of Celestina infernal, an adaptation of Celestina by Teatro Corsario whose principal feature is that it is entirely played by puppets. Although this concept is not totally new (I am thinking of Carolina Calema’s or Bambalina Teatre Practicable’s versions), the aesthetics absolutely are, as Teatro Corsario’s puppets are darker, somehow more grotesque and definitely more sexual. One further original aspect is that puppeteers are not on stage, so that Celestina infernal is a marionette-only show.
Until the end of 2021, Celestina infernal will be running in different Spanish and Portuguese cities:
26/08/2021: Ciudad Rodrigo, Sala Tierra 12:30 and 17:30 (Feria de Teatro de Castilla y León)
14/09/2021: Zaragoza, Teatro de las Esquinas, 19:30 (Festival Rayuela)
30/09-03/10/2021: Valladolid, Teatro Calderón, Sala Delibes, 20:00
Last 15th of August, at the show Un libro, una hora of the Spanish radio station Cadena SER, a one-hour adaptation of Celestina was broadcasted. It is a radio adaptation by Antonio Martínez Asensio, directed by Mariano Revilla and voiced by: Elvira Mínguez (Celestina), Diana Palazón (Melibea), Carles Francino (Calisto), Fran Perea (Sempronio), Fele Martínez (Pármeno), Eugenio Barona (Pleberio), Marisol Navajo (Alisa), Patricia Garó (Lucrecia), Jara Luna (Areúsa), Nuria Huescar (Elicia), Iñigo Álvarez de Lara (Tristán) and Julio López (narrator). The event was recorded and is is for you all to listen at Youtube (below) and at the main podcast platforms.
The dates for the XXIII Festival “Celestina: La España de Rojas” have been confirmed: the festival will be taking place from the 26th to the 29th of August 2021 in La Puebla de Montalbán, as usual. How the festival will be adapted to the COVID-measures still in force in Castilla La-Mancha is not public yet, but everything points to the event taking place in person. In the next days, the official website should provide more detailed information on the programme and the scheduled activities.
In the meantime, you can listen to the one-hour radio adaptation of Celestina broadcasted last Sunday, 15th of August 2021, at the show Un libro, una hora of the Spanish radio station Cadena SER. Available via YouTube and through the major podcast services.
As part of the 17th Biennial Conference of the Early Book Society, which will be taking place the days 12th to 16th of July via Zoom, a whole session on Celestina entitled “Woodcuts of Calisto and Melibea” has been scheduled for Monday, 12th of July, at 17:00 (British time, 18:00 in continental Europe). In it, Ana Milagros Jiménez Ruiz (Universidad de Zaragoza) and Amaranta Saguar García (Universidad Complutense) will be taking about the woodcuts of, respectively, the Tragicomedia and the Comedia.
More concretely, Jiménez Ruiz will be presenting her paper “Tragicomedy of Calisto and Melibea: a mixed-woodcut testimony”, in which she analyses the woodcuts of the edition Sevilla [but Rome], [Marcello Silber], 1502 [but 1515-1516] from the point of view of the reception of Celestina in Italy.
In turn, Amaranta Saguar García will be reading her paper “The lost woodcut(s) of the Burgos: Fadrique de Basilea, 1499 (but 1500-1501) edition of the Comedia de Calisto y Melibea. A temptative reconstruction”, in which she will show that the hypothesis of the Burgos Comedia missing an unsigned gathering of four leaves at the beginning is not that unlikely if full-page woodcuts like those included in Johannes Grüninger’s 1496 edition of Terence’s Comoediae are taken into account. (Yes, I know that the conference abstract says something completely different but… one thing is where you think research is going to take you and a different thing is where research does in fact take you).