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Alberti and Mayakovski: Subverting the Mystery Play

Alberti and Mayakovski: Subverting the Mystery Play l ynn purkey Alberti and Mayakovski Subverting the Mystery Play i Th s article examines the convergence of humor and modernist aesthetics in Rafael Alberti’s Farsa de los reyes magos (1934) and Mayakovski’s Mystery- Bou e ff (1918; Мистерия- буфф) as representatives of their respective e fi lds of cultural produc- tion, and as benchmarks to gauge Spanish responses to Russian futurism during the 1930s.1 Although not Mayakovski’s most Futurist work, Vsevolod Meyerhold’s production of “the r fi st- e ver Soviet play” gained international exposure when per- formed in German at the i Th rd Congress of the Communist International in 1921 (Mayakovski, Sobranie sochinenii 9: 223; Meyerhold & Braun 160). Alberti wrote his avant- garde agitation and propaganda play in 1934 ae ft r returning from a second trip to the Soviet Union, in which his wife, the well- known theatrical g fi ure María Teresa León, reported upon international drama for the Heraldo de Madrid. In their eo ff rts to create an aesthetic variant of social theater, both plays engage ques- tions of modernity by subverting the medieval mystery play, which had an analo- gous didactic intent. i . Spain’ S r ece ption o http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

Alberti and Mayakovski: Subverting the Mystery Play

The Comparatist , Volume 35 – Jun 15, 2011

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Publisher
University of North Carolina Press
Copyright
Copyright © Southern Comparative Literature Association.
ISSN
1559-0887

Abstract

l ynn purkey Alberti and Mayakovski Subverting the Mystery Play i Th s article examines the convergence of humor and modernist aesthetics in Rafael Alberti’s Farsa de los reyes magos (1934) and Mayakovski’s Mystery- Bou e ff (1918; Мистерия- буфф) as representatives of their respective e fi lds of cultural produc- tion, and as benchmarks to gauge Spanish responses to Russian futurism during the 1930s.1 Although not Mayakovski’s most Futurist work, Vsevolod Meyerhold’s production of “the r fi st- e ver Soviet play” gained international exposure when per- formed in German at the i Th rd Congress of the Communist International in 1921 (Mayakovski, Sobranie sochinenii 9: 223; Meyerhold & Braun 160). Alberti wrote his avant- garde agitation and propaganda play in 1934 ae ft r returning from a second trip to the Soviet Union, in which his wife, the well- known theatrical g fi ure María Teresa León, reported upon international drama for the Heraldo de Madrid. In their eo ff rts to create an aesthetic variant of social theater, both plays engage ques- tions of modernity by subverting the medieval mystery play, which had an analo- gous didactic intent. i . Spain’ S r ece ption o

Journal

The ComparatistUniversity of North Carolina Press

Published: Jun 15, 2011

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