TEOLOGÍA DE LA REPRODUCCIÓN. ALEGORÍA MORAL, ELEGÍA ARTÍSTICA Y SÁTIRA DEL POPULISMO EN LA AUTORA DE LAS MENINAS, DE ERENESTO CABALLERO (2017)

La autora de Las Meninas, de Ernesto Caballero (2017), presenta un escenario improbable pero verosímil: tras la llegada al poder de una coalición política, se acuerda la venta de patrimonio para hacer frente a la crisis económica. Ángela, una monja especializada en la copia de cuadros, recibe el encargo de elaborar la réplica de Las Meninas que se expondrá en el Prado tras la venta del original. Este argumento le permite al autor plantear una honda reflexión no exenta de ironía y mordacidad. Este artículo explora cómo el dramaturgo conjuga las tres matrices discursivas de la obra: por un lado, una alegoría moral sobre el pecado de la vanidad; por otro, una elegía por el arte ante los disparatados derroteros por los que hoy discurre; finalmente, una sátira sobre el populismo como proyecto político. Estos ingredientes conforman una “fábula distópica” que ha de contarse entre las mejores piezas de Caballero. Abstract: La autora de Las Meninas, by Ernesto Caballero (2017), offers an improbable but plausible future: after gaining power, a political coalition agrees to sell some cultural patrimony as a means to face an economic meltdown in the country. Ángela, a nun who is specialized in duplicating paintings, is in charge of replicating Las Meninas, which is going to be exhibited at the Prado Museum after the original has been sold. The play is, therefore, a deep, ironic and mordant reflection, and the article explores how the playwright combines the three discursive genres of this play: a moral allegory on vanity, an elegy for the ludicrous direction that art has taken nowadays, and a satire on populism as a political project. These elements produce a “dystopic fabula” which should be considered one of Caballero’s best plays.

Russians in Spain. Book 2. The 20th century. The Beginning

Second in the anthology, the volume offers a rich collection of materials, including descriptions of 1900s–1930s Spain by Russian travellers. Artists, musicians, journalists and people of the theatre, all of them share their expectations, recollections and impressions from visits to this Southern country. A poeticized image clashes with reality, which often stands in stark contrast to the idyllic picture. Spain beckons, mesmerizes, and reveals its luxurious self. The country is wrought with controversy: the archaic lifestyle in the provinces and the dizzying pace of life in big cities; its amiable, but very apathetic people; its glorious past and almost desperate present. Russians travel to Spain to experience its natural beauty and splendid cultural heritage. Many of them revelled in visiting the Prado Museum. Numerous performers would come to Spain to tour, spreading knowledge of Russian music, ballet and drama among local audiences.

From Velázquez to Picasso: Proposal of Artistic Mediation Activities for People with Dementia

This paper describes the design of a program of activities of arts education for people with dementia based on visits to the Prado Museum and the Reina Sofia National Art Center Museum (Spanish anagram, MNCARS) of Madrid, and carried out by a team of researchers and artist-teachers. The program, called “Tenemos cita con el arte” (We have a date with art), in addition to the visits, included workshops of artistic activities. The basic aspects taken into account by the team of artist-teachers for the design of the itineraries in the two above-mentioned museums and the design of the artistic activities are specified. The museum itineraries, which included works of Velázquez and Goya (Prado Museum), and of Dalí, Juan Gris, Miró, Lipchitz, and Picasso (MNCARS) are described, as well as the artistic activities carried out by the participants, based on these itineraries. The considerations set out in this work can be extended to other are centers, so that they can be used as contexts for the promotion of the well-being and social inclusion of people with dementia by artist-teachers working in multidisciplinary teams.

Hiszpania w Dziennikach z podróży Miodraga Popovicia

Spain in Miodrag Popović’s travel diariesIn addition to well-known works about Spain, written by prominent writers and diplomats of the Kingdom of Yugoslavia Zorić, Dučić, Petrović, Dimitrijević, Andrić, Crnjanski, Serbian literature is full of less famous fiction that has complemented the country’s image through Serbian readers since the 70’s of 20th century to the present. One of them is a literary work Put u Španiju from the travel book, entitled Putopisni dnevnici, by Miodrag Popović. The writer describes impressions from a trip to Spain and other countries. Visiting the most famous museums of Madrid Prado, Museum of Modern Art, monastery of El Escorial and churches and museums of Toledo, Popović draws his attention to the paintings and creates subjective, alternative gallery of global paintings. Шпанија у путописној пpози Миодрага ПоповићаОсим познатих дела о Шпанији, чији су аутори били истакнути писци и дипломати из Краљњвинњ Србије и Краљњвине Југославије Зорић, Дучић, Петровић, Димитријевић, Андрић, Црњански у српској књижевности постоје и мање потнати текстови који допуњују слику ове земље од 70.-тих година XX века до данашњих времена. Један од њих је Put u Španiju, из књиге Putopisni dnevnici, Миодрага Поповића који у овој књизи описује своје утиске из Шпаније и других земаља. Посећујући најпознатије музеје Мадрида Прадо, Музеј савремене уметнoсти, манастир Ескоријал, цркве и музеје Толеда концентрише се пре сцега на сликама, и на тај начин ствара своју субјективну галерију светског сликарства.

Charles V and the Fury at the Prado Museum

This is the text of the presentation “Charles V and the Fury at the Prado Museum: The Power of the King’s Body as Image” at the International Conference “El poder del la imagen en el Museo del Prado” (Madrid, December 12th-13th, 2017). By analysing the bronze sculpture Charles V and the Fury (Leone and Pompeo Leoni, 1549-1564. Prado Museum, Madrid), this paper aims to underline the necessity to study royal images in their context (with particular attention to their visibility) to understand better their social use and function. This type of methodological approach can be without any doubt very useful for the historiography in the overall analysis of the leader’s portrait and can stimulate new researches for the future and reformulate some of the traditional conceptions on this topic.

DIALOGIC DISCOURSE IN MUSEUM PEDAGOGY OF UKRAINE AND SPAIN

Fragmentation of scientific research and insufficient understanding of the background on which the modern museum pedagogy should be based slows down its development. In practice, a museum does not always become an intermediary between an exhibit and a visitor that can provide their cognitive and emotional contact. Forms of such contact are varied. The article presents several results of the analysis of work of Ukrainian and Spanish museum organizations from the point of view of innovative experience of socio-cultural activity. The article also studies the dialogic discourse as the basis of the modern museum pedagogy.Dialogic discourse is understood as the cognitive-communicative activity of communicants in a broad (situational, sociocultural, cognitive-psychological) context, fixed by a dialogical text. The museum exhibition itself (exposition) can be viewed as a dialogical text, because as a matter of form it is a human thought fixed on material carrier. In the dialogic discourse between a museum and visitors, we can note such properties as presence of text recipients, complexity of unfolding of discourse moves and their spontaneity, thematic unity of the dialogue, individuality of meanings for each addressee depending on his/her level of preparedness, etc. Thus, we can consider dialogic discourse as an essential part of socio-cultural interaction between a museum and visitors.Since the museum pedagogical activity is often aimed at the younger generation, the article explores examples of work of Ukrainian and Spanish museums with children and families. For example, it analyses the Prado museum’s educational and family programs, audio excursions, game and theatrical "paths", the Prado School program contents, as well as the museum website information. It also views the Rules for visitors of the Prado museum that contain valuable information for parents.In the course of exploration of the Ukrainian museum and pedagogical space, it has been established that each region uses its specific capabilities in order to develop a dialogue with visitors. For example, Odessa Bleshchunov Museum has created a special guidebook for families with children, Skovoroda city museum has an interactive game, Kherson Regional Museum has opened its Museum Center for Child Leisure and Kiev organizes a competition for young museum guides.Summarizing the analysis, we can conclude that the dialogical forms gradually penetrate the process of museum work. However, the discursive part – namely, the "answer" - the response of the museum audience still requires higher attention and scientific research.