Un jodío TEATRILLO

Amadeus - Queen of the Night

 

One of Mozart’s most famous operatic moments came to the big screen in the 1984 film Amadeus, when the “Queen of the Night” aria rang out with striking intensity under the direction of Miloš Forman. pic.twitter.com/S7hN0NaLnM

— 𝗖𝗹𝗮𝘀𝘀𝗶𝗰𝗮𝗹 𝗠𝗲𝗹𝗼𝗱𝗶𝗲𝘀 (@Old_But_Gold50s) October 1, 2026

Un teatro de la Antigüedad

 

Too True to Be Good (Cartografía narrativa)

 

An audio introduction to my paper on Shaw's play, and on  a novel narratological concept I submit, narrative mapping:

_____. "Too True to Be Good: Narrative Mapping." AI podcast, in English, on José Angel García Landa's Spanish paper "Too True to Be Good: Cartografía narrativa." Academia 20 Sept. 2026.*

         https://www.academia.edu/11807022/

2026 

If you can't hear the podcast, there's at least the paper (in Spanish). 

Glass Prospective: La televisión medieval en el drama isabelino

 

Una nota sobre la comedia de Robert Greene Friar Bacon and Friar Bungay, en la que comentamos el desarrollo de modalidades complejas de teatralidad, de perspectivismo dramático, y de complejidad semiótica sobre la escena, estimulados por el uso de la magia como recurso escénico, con anterioridad a Doctor Faustus de Marlowe y The Tempest de Shakespeare. El uso de la magia escénica por parte de Greene estimula una mayor consciencia de la flexibilidad de las convenciones teatrales y de las modalidades de la interacción comunicativa humana.
 

Texto completo:

Glass Prospective  

La televisión medieval en el drama isabelino

http://ssrn.com/abstract=2546429




English abstract: Glass Prospective: Medieval Television in Elizabethan Drama

A note on Robert Greene's comedy Friar Bacon and Friar Bungay, commenting on the development of complex modes of theatricality, of dramatic perspective, and of semiotic complexity on stage stimulated by the use of magical devices in the play, prior to Shakespeare's The Tempest and Marlowe's Doctor Faustus. Greene's use of stage magic stimulates an awareness of the flexibility of theatrical conventions and of the modes of human communicative interaction.

Number of Pages in PDF File: 8


_________

También aparece en otras páginas y repositorios, empezando por estas secciones y revistas temáticas de la SSRN (Cognitive Science Network y Literature Network):

SSRN eJournal Classifications  (Date posted: January 09, 2015)

CSN Subject Matter eJournals      Cognition & the Arts eJournal - CMBO          CSN: Genre & Media (Topic) - CMBO              CSN: Drama (Sub-Topic) - CMBO

LIT Subject Matter eJournals      English & Commonwealth Literature eJournal - CMBO          LIT: Renaissance Literature, Excluding Shakespeare (Topic) - CMBO

También aquí:

_____. "Glass Prospective." In García Landa, Vanity Fea 29 Aug. 2014.* (Frames; Robert Greene's Friar Bacon and Friar Bungay).

         http://vanityfea.blogspot.com.es/2014/08/glass-prospective.html

         2014

_____. "Glass Prospective: La televisión medieval en el teatro isabelino." Ibercampus 6 Sept. 2014.*

         http://www.ibercampus.info/la-television-medieval-en-el-teatro-isabelino-28484.htm

         2014 DISCONTINUED 2024 – Online at the Internet Archive.*

         https://web.archive.org/web/20150323034003/http://www.ibercampus.info/la-television-medieval-en-el-teatro-isabelino-28484.htm

         2026

_____. "Glass Prospective: La televisión medieval en el teatro isabelino (Glass Prospective: Medieval Television in Elizabethan Drama)." SSRN 9 Jan. 2015.*

         http://papers.ssrn.com/abstract=2546429

         2015

         Cognition & the Arts eJournal 9 Jan. 2015.*

         http://www.ssrn.com/link/Cognition-Arts.html

         2015

         English & Commonwealth Literature eJournal 9 Jan. 2015.*

         http://www.ssrn.com/link/English-Commonwealth-Lit.html

         2015

_____. "Glass Prospective: La televisión medieval en el drama isabelino." In García Landa, Vanity Fea 8 Jan. 2015.*

         https://vanityfea.blogspot.com.es/2015/01/glass-prospective.html

         2015

_____. "Glass Prospective: La televisión medieval en el drama isabelino." Academia 30 Sept. 2017.*

         https://www.academia.edu/34723028/

         2017

_____. "Glass Prospective: La televisión medieval en el drama isabelino." ResearchGate 1 Oct. 2017.*

         https://www.researchgate.net/publication/320149608

         2017

_____. "Glass Prospective: La televisión medieval en el teatro isabelino." Net Sight de José Angel García Landa 4 Jan. 2023.*

https://personal.unizar.es/garciala/publicaciones/glassprospective.pdf

         2023

_____. "Glass Prospective: La televisión medieval en el teatro isabelino." Knowledge Commons Works 20 Sept. 2026.*

         https://doi.org/10.17613/mdkjr-j8h23

         https://works.hcommons.org/records/mdkjr-j8h23

         2026

Operating System of Civilization Just Changed

 

 

 

Harari, Yuval Noah. "The next 50 years: humanity, AI, power | Yuval Noah Harari." Interview by Tom Parker.  YouTube (Yuval Noah Harari) 30 July 2026.* (Personhood, post-humanism, control, Agents, Language, Decisions, Corporations, Truth, Fictions, Delusions, Disinformation).

https://youtu.be/_V_ed5fuexA

         2026

 

The Magus

 In John Fowles's novel The Magus, the narrator suspects the other mysterious guests in a mansion on a Greek island are somehow figurants in a masque orchestrated for him by the owner of the house...

 She turned to face the sea again.

'Do you like Maurice?'

'This is only the third time I've met him.' She appeared to wait for me to go on. 'I'm very grateful for his asking me over here. Especially—'

She cut short the compliment. 'We all love him very much.'

'Who is we?'

'His other visitors and myself'. I could hear the inverted commas.

'"Visitor" seems an odd way of putting it.'

'Maurice does not like "ghost".'

I smiled. 'Or "actress"?'

Her face betrayed not the least preparedness to concede, to give up her role.

'We are all actors and actresses, Mr Urfe. You included.'

'Of course. On the stage of the world.'

She smiled and looked down. 'Be patient.'

'I couldn't imagine anyone I'd rather be more patient with. Or credulous about.'

She stared out over the sea. Her voice was suddenly lower, more sincere, out of role.

'Not for me. For Maurice.'

'And for Maurice.'

'You will understand.'

'Is that a promise?'

'A prediction.'

There was a sound from the table. She glanced back, then into my eyes. She had the face I had first seen in the music-room door: both amused and conspiratorial, and now appealing as well.

'Please pretend.'

'Okay. But only in his presence.'

She took my arm and we moved back towards him. He gave us both his little interrogatory headshake. 

'Mr Urfe is very understanding.'

'I am glad.'

'All will be well.'