Salvador Espriu

This geocritical study analyzes La Nieta de Fedra (1929) by Halma Angélico, La Guerre de Troie n'aura Pas lieu (1935) by Jean Giraudoux, Antigone (1939) by Salvador Espriu, and Jason (1945) by Élisabeth Porquerol, all of which are theater plays with mythological themes and which highlight the treatment of femininity in relationship to a multiple spatiality. The geocritical process enables this geocentric study, revealing the historical context of the plays, an analysis of the femininity, the work of these authors, and the different transpositions of these texts on stage. Intertextuality is emphasized through the different stage adaptations, presenting in addition the more speculative nature in the works which are impossible to represent. The different spaces (narrative, dialogued, stage directions, playful space, scenography, extra-literary, etc.) make it possible to give a fair representation of the ideas that the authors wanted to convey at the time they wrote their plays. Similarly, through the scenic space, the various directors visually translate these ideas. We will see that the exposed femininity is the result of the historical context and a spatial vision that focuses on sedentary and nomadic spaces.

In twentieth-century Catalan literature, the myth of Antigone, eternalized by Sophocles, has been interpreted from religious and political perspectives. The aim of this paper is to analyse, from this double point of view, the seven Catalan Antigones written in the twentieth and also early twenty-first century by seven different authors, and to compare them with other dramatic recreations of the myth, including Sophocles’ tragedy: Guillem Colom (1935), Salvador Espriu (1939), Joan Povill i Adserà (1962), Josep M. Muñoz Pujol (1965), Romà Comamala (1985), Pere Alberó (1990) i Jordi Coca (2002).

Nel '900 il personaggio di Creonte verrà sempre più identificato con Franco in Spagna e con Carmona in Portogallo, quindi il tiranno si trasforma in un polo negativo del racconto, e non più un attore in uno scontro dialettico. Sei le riscritture drammaturgiche di origine lusitana del Novecento, capitolo poco noto nell’ambito del Nachleben del mito di Antigone, rimaste ignorante fuori dal Portogallo.

El següent article resumeix a grans trets el treball de recerca "Aproximació a l’estudi de les relacions personals i literàries de Sebastià Juan Arbó a partir del seu fons arxivístic" sobre les idees fonamentals que aquest desenvolupa. La investigació ha estat guardonada, entre d’altres, amb el primer premi en l’àmbit d’humanitats de la XIII edició del Premi Argó de la Universitat Autònoma de Barcelona, un Premi de Recerca Jove (2016), amb la primera menció especial –o segon premi– del Premi Francesc Noy d’Humanitats de la Universitat Pompeu Fabra i amb el Premi de Recerca Ciutat d’Amposta, l’ajuntament de la qual l’ha editat.

AbstrAct The aim of this paper is to analyse the process of writing Les roques i el mar, el blau by the Catalan poet Salvador Espriu. At the origin of the final work there was a collection of 52 texts written in 1976 to comment and to present 52 drawings about figures from the Greek and Latin tradition by the artist Cèsar Estrany. In these texts Espriu expresses ironically his dislike for the kind of representation by Estrany as well as for some mythical figures and stories. He also rewrites some myths (about Ganimedes, Danae, Orpheus) as an exercise of transgression, which is the seed for the series of the other 48 that complete the whole book in 1981. So became the former collection of texts a powerful mythological summa in which the author criticizes some received ideas on classical tradition and exposes his pessimistic vision of the world.

Early versions of some of Salvador Espriu’s works in Russian, Polish and Czech were published in the 1970s, a period in which the figure of Espriu as a politically engaged poet was still current in Catalonia, due to the patriotic interpretation of “La pell de brau” [The Bull’s Skin] (1960). In this essay the situation in Catalonia during the last years of Franco’s rule is contrasted with that of the Communist regimes in Central and Eastern Europe. By illustrating the attitude of several intellectuals towards the dictatorial power we wish to offer ways of understanding Espriu’s reception in those
countries. Thus, we aim to explain the apparent contradiction between two interpretive approaches: on the one hand, an ideology loyal to the government, which saw Espriu as a symbol of the anti-Franco resistance; and a rather anti-Communist attitude on the other, which certain cultivated groups could identify with, as opposed to the Soviet-
Marxist-oriented systems. Moreover, we comment some of the translated works and discuss several strategies for editorial planning. Finally, we propose a short but representative anthology of Espriu’s “civic” poetry in all the three mentioned languages, accompanied by the original poems. [Keywords: Espriu, postwar Catalan poetry, politically engaged literature, Communist regimes, poetry translation, Soviet Union, Russia, Poland, Czechoslovakia]

Title: A catalunian Antigone: notes on Espriu’s Antígona
Abstract: Written under the impact of the fall of Barcelona imposed by Franco's army, the Antigone (1939-1969), by Salvador Espriu (1913-1985), revisits the myth of the Labdacids from the perspective of the traumatic events that mark the history of Spain in the twentieth century. Composed in Catalan, after the interdiction of the language, the play was staged only after World War II, when the great success of the homonymous plays by Anouilh and Brecht gave it new meaning. This paper aims to examine this singular reception of Greek tragedy in Catalonia.
Key-words: Salvador Espriu, Antigone, Greek tragedy, Spanish Civil War, Catalan literature, reception studies.

Sobre la traducció que Mathilde Bensoussan ha fet de 'Primera història d'Esther' en francès, que a partir d'ara se suma a d'altres obres franceses sobre el mite de l'Esther bíblica.

Espriu, Salvador. Première histoire d'Esther. Improvisation pour marionnettes . Prefaci de Denise Boyer. Traducció de Mathilde Bensoussan. París : Éditions de l'Amandier, 2007

Analisi delle figure femminili bibliche (forma e contenuto) che compongono "Israel. Bocetos" (1929), sicuramente una delle opere meno conosciute e meno studiate, sia in patria sia all’estero, di Salvador Espriu (1913-1985), uno degli scrittori più importanti delle lettere ispaniche del Novecento.

El 19 de maig de 1960, amb motiu de la visita a Barcelona del Generalísimo Francisco Franco i dins dels actes de la commemoració oficial del centenari del naixement de Joan Maragall, es produí al Palau de la Música Catalana l’episodi conegut com “els fets del Palau”. En un concert de l’Orfeó Català, al qual les autoritats havien prohibit explícitament la interpretació del seu himne, “El cant de la Senyera”, un grup d’activistes es posà a cantar-lo des de les files superiors, amb bona part del públic que s’hi sumà. La peça, escrita per Maragall per encàrrec de Lluís Millet i estrenada a Montserrat l’any 1896, conté una tornada que l’Orfeó popularitzà i que havia esdevingut una mena d’himne oficiós (o un dels himnes oficiosos) del país, raó per la qual va ser expressament prohibit a partir de 1939: "Al damunt dels nostres cants/ aixequem una Senyera/ que els farà més triomfants" [...]

Cet ouvrage propose une analyse inédite de la force symbolique des nombreuses réécritures d'Antigone en Espagne, après la Guerre civile. Au coeur des débats sur la mémoire historique, faire dialoguer ces pièces témoigne de la fonction cathartique du théâtre en temps de trouble politique. Fanny Blin éclaire ici la représentation de la communauté nationale sur les planches du théâtre espagnol.