Dreams for a New Spanish Dance: Dramaturgy of El desertor (1930), by Felipe Ximénez de Sandoval
DOI:
https://doi.org/10.7203/diablotexto.6.16753Keywords:
Spanish dance, ballet, dramaturgy, Ballets Espagnols
Abstract
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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Author Biography
Alejandro Coello Hernández, Instituto de Historia, CSIC / Universidad Complutense de Madrid
References
Acker, Yolanda (1998). “Ballets escritos por compositores españoles en el siglo XX”. En Antonio Álvarez Cañibano, José Ignacio Cano y María José González Ribot (eds.), Ritmo para el espacio. Los compositores españoles y el ballet en el siglo XX.Madrid: Centro de Documentación de la Música y de la Danza, 42-67 pp.
Albert, Mechthild (2007). “Esteticismo neoclásico y vitalismo prefascista. Felipe Ximénez de Sandoval: Robinsón”. En Gero Arnscheidit y Pere Joan Tous (coords.), Una de las dos Españas: representaciones de un conflicto identitario en la historia y en las literaturas hispánicas: estudios reunidos en homenaje a Manfred Tietz. Madrid/Frankfurt: Vervuert/Iberoamericana, 403-422 pp.
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Murga Castro, Idoia (2017). Escenografía de la danza en la Edad de Plata (1916-1936). Madrid: Consejo Superior de Investigaciones Científicas.
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