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Lavapiés - diverse, multicultural, and one of Madrid's most iconic neighbourhoods - has emerged as a locus of resistance movements and of cultural flourishing. Poised at the intersection of theatre studies and cultural geography, this innovative study sketches its physical and imaginary contours. In From the Theater to the Plaza Matthew Feinberg guides readers on a journey through the development of the theatre, as both art and space, in Lavapiés. Offering a detailed analysis of dramatic texts and productions, performance spaces, urban planning documents, and the cultural activities of squatters, Feinberg sheds new light on the lead-up to Spain's economic crisis and the emergence in 2011 of the 15-M anti-austerity protest movement. The result is a multidisciplinary account of how the spectacle of the contemporary city connects local, municipal, and global geographies. By linking the neighbourhood's unique role as both a site and a subject of Madrid's theatre tradition with its contemporary struggles over gentrification, From the Theater to the Plaza offers new approaches for understanding how culture and capital produce the twenty-first-century city.

The lack of attention to, and historiographic manipulation of, the 18th-century zarzuela until very recently has resulted in the absence of this genre from studies of national and gender identities. This article explores the expressions of Spanish national identity and new models of femininity and masculinity as shaped in the zarzuela Clementina (1786), with music by Luigi Boccherini and libretto by Ramón de la Cruz; commissioned by María Faustina Téllez-Girón (1724–97), widow Countess-Duchess of Benavente, it premiered at her palace in Madrid on 3 January 1787. Clementina is a paradigmatic example of the hybridization found in Spanish music theatre at the end of the 18th century, where apparently antithetical musical styles and dramatic typologies in the Spanish tradition coexist with then-current European aesthetics of the time. The characters in Clementina, underlined by their musical treatment, reveal the presence of roles of both the ancien régime and of a more progressive society. A woman constrained to the domestic space, represented by Clementina and her governess Doña Damiana, is confronted by the character of Narcisa—Clementina's younger sister, the worldly counterpoint of a young aristocrat who enjoys certain freedom of movement and behaviour, which includes emulation of foreign customs (petimetrería, chichisbeo) and those of an inferior social class (majismo). Particularly interesting is Boccherini's use of the musical indication to perform con smorfia, a term associated with feminine characters who feign innocence, such as Narcisa and the maid Cristeta. The masculine characters in Clementina also include the opposition between the traditional Spanish roles (the figurón and the abate) and the new sentimental man, portrayed by Don Urbano, a refined Portuguese gentleman of extreme sentimentality and a paradigm of 'Otherness'.

Metastasio and Apostolo Zeno provide a bridge between the classics and the eighteenth-century Spanish playwriters, as Ramón de la Cruz and Vicente Rodríguez de Arellano, who not only write original work, but also made versions of Italian melodrams. Both Italian and Spanish authors staged their particular vision of the history of Rome to the public wliith extraordinary success. [PUBLICATION ABSTRACT]

El primer caso ocurrio a las 16:00 horas, cuando Mateo Ramon Cruz, de 50 anos y originario de Uruapan, Michoacan, llego a las instalaciones de un banco localizado en el centro de Guadalajara. Ramon Cruz circulaba por Pedro Moreno y 8 de Julio cuando fue interceptado por tres desconocidos que viajaban en una motocicleta de alto cilindraje y un auto Tsuru blanco. El segundo caso ocurrio en Zapopan a las 16:45 horas, cuando Herlin Solis Martinez, de 30 anos, llego al Banamex localizado cerca de la confluencia de la Avenida Lopez Mateos y Copernico.

Donny Boyd racked up 30 points as Doherty defeat Burncoat, 85-69, in the first round of the Inter-High boys' holiday tournament last night at South. Half of Boyd's points came when the senior buried five consecutive 3-pointers in the first quarter. The shooting of Boyd, coupled with a 12-point Highlander run, gave Doherty a comfortable, 31-13 lead with six minutes remaining in the half. \"He stretched the defense out and made it a little easier to get the ball in other spots as well,\" Doherty coach Ed Capstick said of Boyd. \"Everyone always has to be concentrating on him because he's been sticking the ball well for us this year, and he's going to continue to do that.\"

PHOTO - RIC FRANCIS / THE RECORD - [Ramon Cruz], 8, observing his father [Luis]'...

PHOTO - RIC FRANCIS / THE RECORD - [Ramon Cruz], 8, observing his father [Luis]'...

In another mobile home, Eufemia Morales and Aide [Ramon Cruz] huddled over Ms. Cruz's three-week-old daughter, Elizabeth. Furniture, walls and the ceiling broke apart and flew around the mobile home, Aide Cruz said.

Este artículo ofrece la edición de un entremés anónimo del siglo XVIII: El boticario alcalde. La publicación viene precedida de un breve estudio en el que se propone la autoría de Ramón de la Cruz, además de su análisis literario, así como los actores y compañías que debieron representarlo. En cuanto a la pieza, en ella se hereda la estructura, recursos cómicos y algunos personajes propios de los entremeses del siglo XVII, destacando en este último la figura del alcalde. Su publicación supone, por tanto, un nuevo hallazgo para el género entremesil.