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    Fuente Ovejuna / Lost in a Mirror
    Unavailable
    Fuente Ovejuna / Lost in a Mirror
    Unavailable
    Fuente Ovejuna / Lost in a Mirror
    Ebook287 pages4 hours

    Fuente Ovejuna / Lost in a Mirror

    By Adrian Mitchell and Lope de Vega

    3/5

    ()

    Currently unavailable

    Currently unavailable

    About this ebook

    Introduction by Nicholas Dromgoole.


    Both plays are highly charged emotional works, full of Lope de Vega’s vitality. This adaptation of Fuente Ovejuna was performed in Declan Donnellan’s directorial debut at the Royal National Theatre.

    LanguageEnglish
    PublisherOBERON BOOKS Ltd
    Release dateJun 1, 1989
    ISBN9781849437851
    Unavailable
    Fuente Ovejuna / Lost in a Mirror

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    Reviews for Fuente Ovejuna / Lost in a Mirror

    3/5

    5 ratings2 reviews

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    • 3/5
      These two plays are a product of their time, and their 17th century origin shows in both style and content. The biggest problem is the tendency to be unrhymed for a period of time, then suddenly lapse into rhyme without, dare I say, rhyme or reason, The problem probably stems from a too-literal translation, which has the advantage of giving us the sense of the play as the playwright intended, but loses the poetry when moved into a different language. The plays themselves are a bit talky, with the long exposition that was the style of the time, but they are interesting as more than just historical pieces. The plots have enough action and the characters are well drawn enough that it is possible to follow the play in much the way as we do a modern work. The stories are familiar enough stories of honor, love, and dishonor, with quite a bit of murder thrown in for those who want blood in their entertainment. The women are presented sympathetically, without the misogyny that mars so many plays of this period.
    • 3/5
      These two plays are a product of their time, and their 17th century origin shows in both style and content. The biggest problem is the tendency to be unrhymed for a period of time, then suddenly lapse into rhyme without, dare I say, rhyme or reason, The problem probably stems from a too-literal translation, which has the advantage of giving us the sense of the play as the playwright intended, but loses the poetry when moved into a different language. The plays themselves are a bit talky, with the long exposition that was the style of the time, but they are interesting as more than just historical pieces. The plots have enough action and the characters are well drawn enough that it is possible to follow the play in much the way as we do a modern work. The stories are familiar enough stories of honor, love, and dishonor, with quite a bit of murder thrown in for those who want blood in their entertainment. The women are presented sympathetically, without the misogyny that mars so many plays of this period.