Paridades y conflictos: Analogía de dos mundos en La Celestina de Teatro El Público

Abstract

Teatro El Público company staged an adaptation of Rojas' Celestina that was an enormous success in Cuba in 2002. This article examines how the adaptation deployed theatrical techniques to give the classical text new meanings that were especially adequate for Cuban audiences in that particular historical moment. The original text was respected, with the exception of the suppression of the long tirades dealing with erudite elements. Other ingredients of the production, such as the wardrobe, the nudity of some of the actors, eroticized acting, the addition of Spanish and Cuban music, and the physical disposition of the stage helped to highlight interesting parallelisms and contrasts between the medieval world in which Celestina was written and the situation of Cuba at that moment.