User talk:AndreaMoreno31/sandbox

Madrid Café-théâtres have their origin in the first model of Café-Chantant that appeared in the Spanish capital in the middle of 19th century, years before the Revolution of 1868 or The Glorious Revolution, also known as La Septembrina. [1] Since then, they have proliferated or have withered according to incentives in proportion to the socio-political and cultural activity of the Madrid society [2][3], on a multifaceted billboard that would include from the 19th century Café del Recreo, opened on 27 April 1866, [4] or the symbolic Café de Capellanes [a] to the innovative Off-Fuencarral. [5] Frequently, the prototype of a Café-théâtre is associated with other outstanding models of the show business such as the lyric Café-théâtre, the live-music café or the Café-chantant, and in some formal aspects with cabaret. [6]

Facing an audience, which is usually passionate and almost always casual, even friendly, its modest stages had days of rejoicing and sadness. [7] With a wide range of forgotten writers and actors and unforgettable great masters of the stage, the Café-théâtres in Madrid have written an endless list of names, opposing at times, in the pages of their history. Flamenco stars such as Silverio Franconetti, [8] La Argentinita or Vicente Escudero; genuine comedians like the Prado-Chicote couple and humourists of different profiles from the stage of the 20th century; [9] singers of cuplés such as Goyita or La Chelito to Olga Ramos; [10] all types of dramatists, from sainete (one-act farce) to the 'political entremés' or the cabaret-style farce; actors lately enshrined by the cinema (such as Fernando Fernán Gómez, Ana Mariscal, Pedro Almodovar or Carmen Maura, in order to give just a few examples); or a whole series of young singer-songwriters [11] including those who opposed Francoist Spain to the bourgeois youth during the years of the Movida Madrileña. [12][13] At the beginning of the 21st century, the last relay belongs to an odd Madrid situated in the area of el Matadero or the Opera historical centre and the new theatrical commitments in the former focus of Chueca, Lavapiés, Malasaña and La Latina.

Since its beginning, the Café-théâtre is defined by its dual functionality: a place where you can consume what is provided by a modest catering service while a theatrical performance is represented. [14] Perhaps, what is more distinctive is the stage space in which the performance is represented, in most cases, bare of curtains, drops, wings or forillos, thus breaking the traditional common model known as the Fourth Wall. [15] Furthermore, in terms of social aspects, it is mainly characterized by the absence of etiquette and formal acts (going to the theatre, being in the theatre, occupying a seat...). On the contrary, the public of the Theatre Café does not dress up for the performance, neither buys a ticket (for the habit is to include it in the price of the drink price), neither has a predetermined or numbered seat. The public of a Theatre Café enjoys the pleasure of both the consumption and the performance in a similar or alternative way and leaves when they want to. '''This refers to the theatre phenomenon divested of any official nature. [16][17] As a consequence, the space of the Theatre Café hosts forms, genres and types of spectacle with plane or non-existent stage machinery, as it is the case of magicians, jugglers, comedians, mimes, storytellers. They are, in many aspects, images of the bululu, who represents the basic example of a theatre company since the Spanish Golden Age. [18]

History[edit] Cruz de Malta Café-théâtre[edit] Main article: La Cruz de Malta Some authors mention the café la Gran Cruz de Malta as the first live-music café which existed in Madrid.[19] Operating from 1780 to 1830, it was located in Calle del Caballero de Gracia and, according to the flamencologist José Blas Vega, the first music performance in the history of Madrid cafés in this café was celebrated, as it was announced in the book Paseo por Mardid o Guía del forastero en la Corte. [20] This is reinforced by Mesonero Romanos in Memorias de un setentón, in which the distinguished chronicler narrates that the aforesaid establishment 'kept its primitive café nature.' [21][b][22] Mesonero also wrote about the enraged political atmosphere which dominated in the Trienio Liberal (Liberal triennium) in La Cruz de Malta, and also in other different Madrid primitive cafés as the Lorencini café or La Fontana de Oro, where in the last years of Ferdinand VII of Spain’s Kingdom, the liberal people wrote their history. This real pages were later transformed in a historical fantasy by Benito Pérez Galdós in his first published novel 'La Fontana de Oro'.This suggests that the first opened Café-théâtre in Madrid was a politicised theatre or a result of the political speech platforms of a very theatre tradition. [23]

Café-théâtre de la Infantil[edit] Main article: Teatro Romea (Madrid) The existing Café-théâtre was the earlier and the contemporary first Madrid teatro Romea, from the late 1860 in Calle de Carretas (later the residence of the second Romea of the Spanish capital city.) The Carretas Café-théâtre was announced as Teatro y Café de la Intantil, in number 14 of the previous street, near the Puerta del Sol or 'Gate of the Sun'. In advertising, which was inserted in the press of Madrid, it was promised that people who paid 'a penny and a half for the coffee', would have 'free-ticket for the performance'. [24](25) At the end of 1889, the Teatro y Café de la Infantil lost its function and it was temporarily used as a cloth store. The last performance was the short playwright piece called ¡¡El dengue!!, written by Anselmo Rodríguez Fernández.[c]

The Capital of Flamenco[edit]

Un café cantante (a cabartet). Oil Picture by José Alarcón Suárez (1850) [1]. Main article: Café cantante Many were the authors who insist (COH) on underlining the capital of Madrid as the promotional cultural centre of the cante jondo (singing ST give me more than that or don't give me anything at all)), the dancing and the culture of flamenco.[25] Some studies, by Ricardo Molina and Antonio Mairena, Manuel Ríos Ruiz or Antonio Mata [d], that (GRAM) were considered to be classics, (as well as the extensive bibliography about the topic signed by Blas Vega), have revealed the presence and the importance of such a social phenomenon that, except for Ramón Gómez de la Serna and the chronicler Antonio Velasco Zazo [26], went by unnoticed during more than a century for the historians and local chroniclers. It was not until the last quarter of the 20th century that researchers traced a documented map showing the presence of flamenco at the café-théâtres (LEX fourth different way to refer to this)) or the singers in the Spanish capital. [e]

On balance (ST), on the period that we have mentioned (ST) between the last quarter of the 19th century and the first half of the 20th century, it is known that there were more than eighty café-théâtres in Madrid, most of them as cafés cantantes (LEX conssitency!!) with their habitual flamenco shows. [27][f]

Silverio Franconetti, Tomás el Nitri, Antonio Chacón, Enrique el Mellizo or Niña de los Peines are some flamenco leading figures distinguished of all the times that were in the process called “capitalización de Madrid” (FS, you didn't understand your text, therefore you decided not to translate it).

Furthermore, at (PREP) the last quarter of the 20th century, they (ST who?) tried the romantic recuperation of the flamenco phenomenon in a close area of the café cantante (TIP) or in some places with café-théâtre vocation from the Madrid traditional chispera (NMS). [28]

Los bufos madrileños (can you also provide a rough translation for your reader?) [edit] Main article: Bufo (teatro) Another significant chapter in the popularisation of the café-théâtres in Madrid were the “bufos” (“bouffes”) (same as above). They appeared in Madrid in 1866 by (ST) the “Bufos Madrileños” company, created by Francisco Arderius. He followed the Parisian model of Offenbach, [29] that new comical toy which would stir up the theatre henhouse from Madrid (SS). The new style spread quickly among the establisments (ORT), cafes (accent, no accent, can we make a decision?), and big theatres as this new style began to success (GRAM). [30][31]

Capellanes and Paul[edit] Main article: Teatro de Capellanes Main article: Teatro Circo Paul

Cover of the novel (serial) Los Misterios de Madrid: El Salón de Capellanes, designed by Rafael del Castillo, published in Madrid in 1863 by the bookseller Printing Miguel Guijarro. The Capellanes theatre in Madrid was the first place that set the romantic "ambigú".[32] Officially consider (GRAM) as the first café-théâtre of Madrid, [33][5] the Salón Capellanes which (GRAM) revolutionized the traditional drawing (SS) of the teatro corrala (ST explain cultural references) (OM, there is a cause-consequence relation between this two sentences). It was set up in the old courtyard of the Hospital de la Misericordia; the theatre had the galleries of the courtyard as a lobby, with rest and stay areas which made it very popular. [34] The dances of that genuine “fusion establishment” were that (GRAM) popular that were immortalised in some verses like the ones from the contradanza (?) whose chorus advised:

No me lleves a Paul que me verá papá. Llévame a Capellanes que estoy segura que allí no irá.

Don't take me to Paul there that will see me (SS). Take me to Capellanes that I'm certain that there he won't go (WO).

The establishment, whose reputation remained quite a while dubious (ST), [35] ended up becoming a small theatre with 400-people capacity (which eventually would be extended to 600). The chroniclers Pedro de Répide and Ángel Fernández de los Ríos agree on the fact that in 1876, the little theatre of Capellanes changed its name to Teatro de la Risa. [36]

In the same period of the last quarter of the 19th century, among the establishments which preceded (CS) and relayed (ST) the Salón de Capellanes, the Teatro Circo Paul was without a doubt the most famous and popular. [5] In the rear of (ST) these two classics of Madrid café-théâtre's history, we could name the little cathedrals (????) of the género chico (ST explain cultural references briefly) which were café Iris, café de Colón, café Novedades, café del Cármen, café de los Artistas, café de Eslava, café de Embajadores, or the unique café del Recreo.[37][17] Other establishments, which worked at some point of their existence as café-théâtre, can also be mentioned here: café de Lozoya in calle San Bernardo, the café San Isidro in calle Toledo, café del Vapor in Las Salesas, café San Marcial, café San Fernando and café San Francisco, café Sur and café Amistad, café Calderón de la Barca and café España, café Morella, café de la Industria, and a fairly long list.[7]

20th Century[edit] The first third of the 20th century didn’t impose barely variations (GRAM) to the 19th century café-théâtre model. The sainetes (TIP) (one-act farces), and another (LEX) simple staging (GRAM) named género chico (TIP), took up their modest stages spreding (ORT) their influence until the end of the 1950s. [5] The contemporary kind of café-théâtres appeared from 1961 on; (ST) they followed Parisian models like La Vielle Grielle or Le Royal and came into being in establishments like (ST) Lady Pepa, opened in the capital of Spain by Concha Llorca in 1967. [38] This establishment staged Enrique Bariego’s work: Esperando a Godofredo (TIP) (Wating for Godofredo), a ridiculous (ST) version of the clever (ST) Waiting for Godot (TIP) by Samuel Beckett). In the last years of Francoist Spain, Lady Pepa was followed by other establishments (influenced occasionally by the public concerns of the period), like: El Buho Rojo, Ismael, El biombo Chino, La Boite del Pintor, La Fontana, Morrison, Micheleta, Le Canotier, Stéfanis, Bong-Bing or Martin’s. [5] With the Spanish Transition opened (GRAM) Damajuana, La Aurora, El Ángel Exterminador, Candilejas or longer in the 1980s, the Off Fuencarral movement, named after the journalist Rosana Torres and conceived as a theatrical experience without a specific physical space, and whose assemblies (from the most basic cabaret to the assemblies in a traditional style or hybrid paratheatrical shows) staged in bars in the area bordering the calle de Fuencarral and Chueca area. [39] [g][40]

Experiences like La Cochu (daughter of Premamá, acronym of Prensa Marginal Madrileña) or the Off Fuencarral served as a shuttle to the so-called Movida Madrileña fusing the traditional space of the café-théâtre, the bar, and the concert café in establishments that would become historical -(TIP)in the exclusive atmosphere of la movida (TIP). Some names: Elígeme, El Foro, Vaivén, Tara, Café de Maravillas, San Mateo 6, No se lo digas a nadie, Casi.casi, Yastá, El Pentagrama, Bóvedas, King Creole, El Avapiés or the Teatro Alfil itself. And among the participants, coming from all parts of the show (LEX) and very different ends of the country (?), there may be mentioned (ST), among the caprice and disorder (???), groups like Espacio Cero, El Silbo Vulnerado, GAD or Producciones marginales; actors consecrated by the public, before or after (ST), as Pepe Rubianes or Albert Vidal; showmans (GRAM) of musical fusion as Mr. Monzon and his inseparable "Reverend", comedians like Juan Gimeno, Faemino y Cansado or the chameleonic Moncho Alpuente. From beyond the country's borders also came participative and enriching proposals as bretchiano cabaret (TIP) of Johannes Vardar or rock the german (TIP) operetta-rock (ST) of Fever Relter. In the infantry (SS) of this chapter of the café-théâter in Madrid, closed ranks in recent years of the century (GRAM): Loles and Eva León, "Fama", Paco Clavel, Las Virtudes, La Belle Époque, Tona, Otxoa, Susana Mayo, Di Giorno or los Hermanos Trompicelli, among others. [39]

21st Century[edit] From Striptease to performance[edit] Sailing always in the orbit of cabaret, with the new competition of all paratheatrical phenomena grouped around the street theater term (ST), and in the rear of (ST) international innovative models, and even recovering part (ST) of the spirit and mechanics of the Off Fuencarral, the Café-théâtre of the 21st century’s Madrid shows a nearly blank page that (SS) variants (?) of the striptease try hardly (GRAM) to represent in the establishments and echoes of the American and European performances in open spaces. Within the traditional scheme, what it was the mythical Lady Pepa, is still retaining its establishment (ST/GRAM) .[41] Not far away from it, between Puerta del Sol and the Opera, works (GRAM) the Arenal Café-théâtre; and already (?) in the new cultural emporium of the ancient Matadero Madrid it can also be quoted (GRAM) the café-théâtre of las Naves del Español

Notes[edit] Jump up ^ Martínez Olmedilla considered the Capellanes (ST) one of the best places in its category, as he wrote in one of the pages in which he talks about the “cafés-teatro” (LEX/TIP). “There were performances and rehearsals for two pennies (LEX, you are referring to this in a different way above), which was the price for a coffee with milk with gratuity. (see bibliography) (OM) Jump up ^ The Spanish scholar (NMS) John E. Varey, cites an interesting document dated 1829, where Francisco Tadeo Calomarde informs the Mayor (ST) of the city of Madrid, the king's decision (ST), unaware until then that "music concerts and functions were permitted in the coffee Maltese Cross (COH You haven't translated ANY of the names, why are you doing it now?) "that remain prohibited these public acts" (SS) during holy Quaresma " (TIP) (ST). Which confirms the above by Blas Vega and Mesonero (GRAM). Jump up ^ The name of this cafe theater appears in The (TIP) Spanish translation of La Diva operetta (TIP) by Jacques Offenbach, Meilhac and Ludovic Halévy Henri.). (ST) Opera bouffe in three acts premiered in Paris on 22nd March, 1869 with the "Bouffes Parisiens" in the Salle Choiseul) he immortalized the name of this café-theater in these verses of an insurgent couplet: "And we swore faithful love / before the tricornio of a civil (?) / night of San Daniel (LEX) / in the coffee Child (LEX)". The aforementioned "Night of San Danie (LEX)l" refers to the events of 10th April, 1865, when then being (?) the Central University of Madrid in Puerta del Sol (The Gate of the Sun) (ST), a demonstration of workers and students was broken up violently by Guardia Civil (Civil Guard) (?) and the army (TIP), leaving a total number of fourteen dead and a hundred ninety three wounded. The protest led to the ouster of then (?) professor Emilio Castelar Ripoll (later President of the First Republic), following the publication of the article "feature" (TIP), which was not very well stop Queen Elizabeth II (SS). Jump up ^ Molina and Mairena in their Mundo y formas del cante flamenco (ST/TIP), Madrid, Revista de Occidente, 1963; Ríos Ruiz in the Introducción al cante flamenco (ST/TIP), Madrid, Itsmus 1972; Antonio Mara with La verdad del cante(ST/TIP), Madrid 1976. Jump up ^ In this way appears in Y Madrid se hizo flamenco (ST/TIP) by Antonio Escribano and in Lorenzo Díaz guide '''Madrid. Tabernas, botillerías y cafés (ST/TIP) (1479-1991), besides in the referred studies of José Blás Vega, specially in Los cafés cantantes de Madrid (ST/TIP) (1846-1936), work that can be considered cohesive and mayor, already published in 2006. (?) Jump up ^ Arie C. Sneeuw, in his book Flamenco en el Madrid del siglo XIX (ST/TIP) (1989), leaves proof of a total of 33 cabarets in the end of the century, among these some are included in those in which there is no evidence (?) of flamenco presence, but that it could contain within its schedule of shows (?)'''. In this list are important rooms (GRAM/ST) such as Café del Príncipe, Cruz de Malta, Café de Levante and Café de las Columnas. Jump up ^ It can be documented as one of the experiments prior to Off Fuencarral without the evocative label far Off Broadway (?), the whole understood as "cultural conspiracy" in the same Madrid neighborhood launched the company underground La Cochu (Laboratories Collective Chueca) activities by 1977, which was based on the corner between Augusto Figueroa street and Fuencarral. — Preceding unsigned comment added by Rcarrasc (talk • contribs) 13:28, 4 May 2016 (UTC)

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GRADE AWARDED: POOR -D- — Preceding unsigned comment added by Rcarrasc (talk • contribs) 13:47, 4 May 2016 (UTC)