Download e-book for iPad: El Coliseo de la Cruz: 1736-1860 : Estudio y documentos by Phillip B. Thomason

By Phillip B. Thomason

ISBN-10: 1846153824

ISBN-13: 9781846153822

ISBN-10: 1855661144

ISBN-13: 9781855661141

The Coliseo de l. a. Cruz, the 1st sleek public theatre in Madrid, was once built among 1736 and 1737 at the website of the city's oldest everlasting playhouse, the Corral de los angeles Cruz, courting from 1579. The corral, an open-air courtyard theatre, was once surrounded through inner most bins in neighbouring homes [recently studied during this sequence via Charles Davis], which in basic terms intermittently contributed to the municipal coffers; by way of 1736, in addition, it was once decrepit and ill-suited to present staging requisites. these kind of components led the town gurus to switch it through an up to date, absolutely self-contained theatre construction with a proscenium level. the hot coliseo was once shaped within the Italian variety, yet maintained many features of the corral theatres, comparable to the cazuela [separate women's gallery], and persisted to draw a diversified viewers, representing almost each point of Madrid society. It observed the 1st performances of a few of the best works of Spanish drama, akin to Zorrilla's Don Juan Tenorio, in addition to many who are lengthy forgotten. eventually, in 1859, the Coliseo de los angeles Cruz, via now insufficient and in sick fix, used to be demolished to make room for an extension of the Calle de Espoz y Mina with the intention to alleviate traffic jam on the Puerta del Sol.

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Extra info for El Coliseo de la Cruz: 1736-1860 : Estudio y documentos (Fuentes para la historia del Teatro en Espana)

Example text

Eran aposentos pequeños junto al escenario. Se mencionan en los documentos de construcción en 1737, en la cuenta del carpintero: «seis cubitos que arriman al teatro se regulan por dos aposentos» (doc. núm. 3 [h]), y la del pintor se refiere a «los aposentos de los rincones, que, multiplicados por media cada uno, hazen tres claros» (doc. núm. [g]). Volviendo ahora al alzado de Juvarra (figs. 10 y 11), se observa en el centro, al fondo de la sala, una galería encima de los alojeros y la puerta del patio, pero debajo del primer nivel de aposentos.

Para determinar las dimensiones del escenario del propio coliseo, la fuente más valiosa es, de nuevo, el plano de la reforma de la platea propuesta en 1841 (fig. 29; véase también fig. 24). ), bastante más que el tablado del Corral de la Cruz, pero mucho menos que la abertura en el diseño de Juvarra. En cambio, el alzado incluido en este plano de 1841 (fig. 25) revela que tenía la misma altura, unos 6 pies, y que estaba ligeramente inclinado. 53 Véase Allen, The Reconstruction, págs. 29–37, y Ruano y Allen, Los teatros comerciales, pág.

3 [v])—; pero no sabemos dónde estaría situado. En cualquier caso, Juvarra murió antes de poder llevar a cabo su plan, y le tocó a Pedro de Ribera adaptarlo a otro solar. Por eso dice Armona que el Teatro de la Cruz se hizo «por sus ideas [de Juvarra], aunque no completas o en el todo». De hecho, parece que Ribera empezó adaptándolo a los otros solares que iba midiendo. Su diseño para la plazuela del Matute (fig. 2) es esencialmente igual que el de Juvarra en cuanto a su concepto geométrico. La otra planta, conservada en el Archivo de Villa con los alzados de Juvarra (fig.

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El Coliseo de la Cruz: 1736-1860 : Estudio y documentos (Fuentes para la historia del Teatro en Espana) by Phillip B. Thomason


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