María Bastianes
Biographic Data
| ID | 2052636 |
|---|---|
| NAME | María Bastianes |
| GIVEN NAMES | María |
| FAMILY NAME | Bastianes |
| SIGNATURE | BASTIANES M |
| AFFILIATIONS | University of Leeds |
| ORCID | 0000-0002-1921-5912 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Performing (Gender) in 1930s Spain
In the early twentieth century, the steady increase of women entering higher education led to mixed gender university theatre groups. The lack of extant archival documentation complicates the task of reconstructing such experiences in many contexts and cultures. A notable exception to this widespread situation is La Barraca, a state-funded university theatre group created during the short-lived Spanish Second Republic (1931–6). The intimate relat…
Centenary Paper
Over the last decade, British universities have become increasingly reliant on an instrumentalist rhetoric to defend the ongoing relevance of research and teaching in the Humanities. This has resulted in a new chapter in the long-running saga concerning the crisis (purported or real) of Modern Languages alongside the study of literature. The very flexibility condemning traditional Modern Languages curricula to the past nevertheless offers new opp…
Negotiating cultural exchange. Federico García Lorca on the British stage from the Spanish civil war until the mid-fifties
This article seeks to reconstruct and explore the initial theatrical reception of Lorca in the UK, focusing on why and how his texts entered the British theatrical ecosystem, and how they created connections among artists in and beyond Britain. This exploration of a largely ignored archive of the past also opens new gates for future theoretical reflections surrounding the complex symbolic weight of the author and his work. This, in turn, offers a…
Multilingualism, diversity, and performing arts. A home for Spanish language theatre in post-Brexit gentrified London
In 2016, the Spanish Theatre Company (STC) opened the doors of its Cervantes Theatre (CT), the first British (and European) venue devoted to showcasing productions of Spanish and Latin American plays in a bilingual format. Four years on – and at a critical juncture given Brexit and the COVID-19 pandemic – this article reflects on the current state and future prospects of this nascent migrant theatre initiative based in Southwark. This, I hope, wi…
El teatral regreso de Celestina a Italia y las políticas culturales fascistas durante la Segunda Guerra Mundial
The return of Celestina to Italian publishing houses during the Second World War has been examined in a series of recent research publications. These studies have not, unfortunately, described in a satisfactory manner the reasons underpinning this interest in a foreign piece; nor have they explained how it came to be one of the most regularly performed Spanish classic texts in twentieth-century Italy. The aim of this article is to settle this cri…
Una versión polémica de La Celestina
Este artículo se propone estudiar la versión de Celestina de Michel Garneau (Célestine là-bas près des tanneries au bord de la rivière) y la polémica traducción que realizó Álvaro García Meseguer para la puesta en escena española de Robert Lepage en 2004. De esta manera, se llevará a cabo un análisis formal detallado y exhaustivo del texto que permita dilucidar, de manera objetiva, cuáles fueron las características, aportaciones y problemas del t…
Un clásico difícil. Censura y adaptación escénica de La Celestina bajo el franquismo
El artículo se propone estudiar los problemas que atravesó la elaboración de versiones escénicas de La Celestina durante el franquismo: de qué manera artistas y censores operaron con un clásico que desafiaba los límites impuestos en lo tocante a moral, religión y política. Para ello, se han analizado diversas versiones de este período, teniendo en cuenta la documentación que se halla en los respectivos expedientes de censura teatral, conservados …
No prominent works on this page.
Un clásico difícil. Censura y adaptación escénica de La Celestina bajo el franquismo
El artículo se propone estudiar los problemas que atravesó la elaboración de versiones escénicas de La Celestina durante el franquismo: de qué manera artistas y censores operaron con un clásico que desafiaba los límites impuestos en lo tocante a moral, religión y política. Para ello, se han analizado diversas versiones de este período, teniendo en cuenta la documentación que se halla en los respectivos expedientes de censura teatral, conservados …
El teatral regreso de Celestina a Italia y las políticas culturales fascistas durante la Segunda Guerra Mundial
The return of Celestina to Italian publishing houses during the Second World War has been examined in a series of recent research publications. These studies have not, unfortunately, described in a satisfactory manner the reasons underpinning this interest in a foreign piece; nor have they explained how it came to be one of the most regularly performed Spanish classic texts in twentieth-century Italy. The aim of this article is to settle this cri…
Una versión polémica de La Celestina
Este artículo se propone estudiar la versión de Celestina de Michel Garneau (Célestine là-bas près des tanneries au bord de la rivière) y la polémica traducción que realizó Álvaro García Meseguer para la puesta en escena española de Robert Lepage en 2004. De esta manera, se llevará a cabo un análisis formal detallado y exhaustivo del texto que permita dilucidar, de manera objetiva, cuáles fueron las características, aportaciones y problemas del t…
Negotiating cultural exchange. Federico García Lorca on the British stage from the Spanish civil war until the mid-fifties
This article seeks to reconstruct and explore the initial theatrical reception of Lorca in the UK, focusing on why and how his texts entered the British theatrical ecosystem, and how they created connections among artists in and beyond Britain. This exploration of a largely ignored archive of the past also opens new gates for future theoretical reflections surrounding the complex symbolic weight of the author and his work. This, in turn, offers a…
Multilingualism, diversity, and performing arts. A home for Spanish language theatre in post-Brexit gentrified London
In 2016, the Spanish Theatre Company (STC) opened the doors of its Cervantes Theatre (CT), the first British (and European) venue devoted to showcasing productions of Spanish and Latin American plays in a bilingual format. Four years on – and at a critical juncture given Brexit and the COVID-19 pandemic – this article reflects on the current state and future prospects of this nascent migrant theatre initiative based in Southwark. This, I hope, wi…
Centenary Paper
Over the last decade, British universities have become increasingly reliant on an instrumentalist rhetoric to defend the ongoing relevance of research and teaching in the Humanities. This has resulted in a new chapter in the long-running saga concerning the crisis (purported or real) of Modern Languages alongside the study of literature. The very flexibility condemning traditional Modern Languages curricula to the past nevertheless offers new opp…
Performing (Gender) in 1930s Spain
In the early twentieth century, the steady increase of women entering higher education led to mixed gender university theatre groups. The lack of extant archival documentation complicates the task of reconstructing such experiences in many contexts and cultures. A notable exception to this widespread situation is La Barraca, a state-funded university theatre group created during the short-lived Spanish Second Republic (1931–6). The intimate relat…
Art (6 works) · Humanities (5 works) · Spanish Literature and Culture Studies (4 works) · Political science (3 works) · Spanish Culture and Identity (3 works) · Brexit (2 works) · European union (2 works) · Garcia (2 works) · Historical and Modern Theater Studies (2 works) · History (2 works)