Browse Items (3223 total)

Factotums of houses, Melibea, Lucrecia, Celestina and Alisa.

Factotums of houses, Melibea, Lucrecia, Celestina and Alisa.

Factotums of Sempronio, Pármeno, Celestina, Elicia, Areúsa and Lucrecia.

Factotums of houses, Pármeno, Areúsa (used earlier for Melibea), Sempronio and Calisto. Sempronio's image is new and shows a character gesturing with his index finger.

Factotums of houses, Celestina, Pármeno, Areúsa and Elicia. The factotums of Areúsa and Elicia are the ones used earlier for Alisa and Melibea respectively.

Factotums of a tree, Calisto, Celestina, Pármeno and Sempronio.

Factotums of houses, Celestina, Sempronio, Pármeno and Calisto.

Factotums of houses, Celestina, Lucrecia, Alisa and Melibea.

Factotums of a tree, Sempronio, Celestina, Elicia and houses. All previously used and Elicia's is used for Melibea. Sempronio looking as though he is threatening Celestina.

Factotums of houses and four masculine characters. Written above are the names Calisto, Pármeno and Sempronio. The factotums' placement implies that the characters are interacting two by two. Three are bearded.

Five factoums and above the names of Calisto, Melibea, Sempronio, Celestina, Elicia, Crito and Pármeno. Celestina holding the rosary and Sempronio reaching for his sword as if to threaten Celestina, who is at his side. All the masculine characters…

An illustrated edition with 26 engravings (plus the cover)The image in the cover is the same as the one used inZaragoza 1545, but the typographic composition of the page is different.A very elaborate composite model that originated fromValencia,…

Factotums of the images of Elicia, Centurio and Areúsa. In the margins, a house and a tree.

Calisto, escorted by Sosia and Tristán, scaling the wall to Melibea's garden, where Melibea and Lucrecia await. The same engraving is repeated in act XIX.

Execution of Pármeno and Sempronio.

Narration of Celestina's death at the hands of Pármeno and Sempronio on the left side, then their jump through the window in the central part and judge and soldier on the right and also in the left margin.

Factotums of the images of Calisto, Lucrecia, Melibea and Sempronio.

Factotums of the images of Calisto, Celestina, Pármeno and Elicia.

Factotums of the images of Sempronio, Pármeno, Celestina, Lucrecia, Elicia and Areúsa.

Factotums of the images of Sempronio, Pármeno, Calisto and Areúsa. Houses in the right margin.

Factotums of the images of Celestina, Pármeno, Areúsa and Elicia. Houses in the left margin.

Factotums of the images of Calisto, Celestina, Pármeno and Sempronio. Houses in the left margin.

Factotums of the images of Calisto, Pármeno, Sempronio, and Celestina. Houses in the left margin.

Factotums of the images of Lucrecia, Celestina, Alisa and Melibea. Houses in the margin.

Factotums of the images of Celestina, Sempronio and Elica. Margins made of houses and a tree.

Factotums of the images of Calisto, Pármeno and Sempronio, with margins made of trees and houses.

Factotums of the figures of Pármeno, Calisto, Melibea, Sempronio, and Celestina (text superimposed adds Elicia and Crito, that are not in the figure).

Factotums of the images of Melibea, Lucrecia, Alisa and Pleberio. In the left margin there are houses.

Factotums of the images of Melibea, Celestina, Lucrecia and Alisa. Houses in the left margin.

Melibea's suicide, with Pleberio and Alisa present and two unnamed characters (Lucrecia and a page?).

Factotums of the images of Melibea, Lucrecia and Pleberio. Tree and houses.

Sosia and Tristán carry the dead Calisto after his fall.

Image of Calisto climbing into Melibea's garden. It is the same image from act XIV.

Factotums of the images of Areúsa, Centurio and Elicia. Houses and tree.

Factotums of the images of Elicia, Sosia (error of the printer since the image is that of a woman) and Areúsa.

Celestina, Melibea, Lucrecia, Calisto and Sempronio, and dog, falcon and horse. Celestina holding a rosary and Calisto the string and falcon. Note the detail of the horse's testicles that can be seen from behind.

Poster and brochure cover of the concert version of the opera La Celestina by Felipe Pedrell that took place at the La Zarzuela theater in Madrid on September 9, 2022. See information…

105 years after it was written, Antoni Ros Marbá presents two scenes from Felipe Pedrell's opera:La Celestina: tragicomedia lírica de Calisto y Melibea en cuatro actos ("La Celestina: lyrical tragicomedy of Calisto and Melibea in four acts").Symphony…

A variant of the covers of Seville by Cromberger, but completely redesigned. It now also includes a dog and the initials of Sempronio and Celestina have been added on top of the corresponding characters. See the complete description in the edition of…

Young man and matchmaker argue, using their fingers to count.

Estable Theater Group of the Association of Former Students of Colegio del Pilar

Table representing the temptations of Saint Anthony Abad. In the painting San Antonio appears surrounded by three young women tempting the saint and an old woman. The old woman appears with her breasts exposed and can act as a procuress for the young…

Adaptation: Carles Recio Scene: Kojani Teatre Technical help: José Luis Sanz “El Cigalo” , Margarita Serra, Pasba and José Vicente Fábregues Duration: 60 min. Cast: Amparo Pastor – Celestina a fairy/witch who protects good loveEros Recio-…

Les Sitges Theater group from Burjassot
Music: Lluís Subiela (accordion) and Samuel Subiela (guitar)
Scenography: Inma Ibáñez

Cast:
Amparo Pastor– Celestina,
Claudia Esteban – Melibea,
José Luis Oltra – Calisto
Javi Bono – …

A woman and a man in the center of a room. The woman points to the bed while he has his hand on her waist. There is another woman at the door.

Illustration of an old woman giving a love letter to a young woman, in the background to the right a feathered hat or a flower vase. Undearneath, written in French and German is the following text: "I swear that he is so taken by you that he is…

"The Celestine is represented holdingsideburnlessglasses, typical of previous times in her left hand. In her right she holds an ancient rosary, made up of three dozen beads and topped with a medal instead of a crucifix, perhaps of the Virgin or of…

A young woman appears in the centre of the painting looking to the right at an older woman who is holding a hand fan. To the left of the young woman, there is a young man covering his body and partly his face.

The Fortune Teller displays the exaggerated tenebrism (contrasting light and shadow) that was initiated by Caravaggio. Symbolic elements such as the mirror that the young man on the left is holding suggests vanity, while the garlic on his head may…

La Celestina, una cantata mediterránea ("La Celestina, a Mediterranean cantata") Musical choice, adaptation and direction: Costa PalamidesDirection assistance: Pedro CambasScene assistance: Yordano MarquinaMontage: Arteú group and Colectivo de Canto…

Theatre Workshops-Universidad Tecnológica de México

Author: Fernando de Rojas.Adaptation: Alejandro CasonaDirection: José Osuna, helped by Luis Balaguer.Decorations and figurines: Emilio Burgos, made by Viuda de López y Muñoz.Director of the company: José TamayoLope de Vega companyCast: Milagros Leal,…

Representation directed by Jose Osuna, for the Teatro Reina Victoria. Premiered by Milagros Leal.

National School of Dramatic ArtAbbreviated version: Alejandro Casona Cast: Elvira Travesí, Manuel Delorio, Ricardo Blume, Alfredo Bouroncle seconded by students and graduates.There was another performance of the play on August 18, 1967 at the Reina…

La Celestina en cámara ("La Celestina on camera")Cast:Alejandro Sieveking - CalistoAnita Klesky - Melibea

Callisto falls off the ladder. Melibea, Tristán and Sosia are scared.

Calisto and Melibea's first night of love

Pármeno and Sempronio murder Celestina

The bailiff knocks on the door of Celestina's house before she is murdered.

Celestina keeps her promise to Pármeno, and he may keep Areúsa.

Celestina shows Melibea her spellbound thread.

Sempronio talks to his owner Calisto

Melibea and Lucrecia see Calisto and his falcon in the garden.

The cover features a fragment ofthe cover of the Valencia edition of 1514.

Thepsis Project

Artistic Team
Costumes and Scenography: GimnasioTeatro
Poster: Hugo Jiménez
Trailer: Alvar Jiménez
Lighting and sound: Francisco Báez
Scenographic performance: Metales Gómez, Francisco Aguilar
Manuel Arquelladas.
Images on…

Even two unrelated paintings, such as fragment showing a young bourgeois couple in the paintingA Goldsmith in Shop by Peter Christus (1449), and an older woman taken grom Botticelli's allegorical female figure for Repentance in his painting The…

A painting on an easel depicting a mythological scene of Neptune on his chariot.

Four characters appear on the cover of the first image (first part), who, according to the cover, are in Juan Llorens house, Calle de la Palma de Santa Catarina. The young couple on the left (characters Saldoni and Margarida), the old woman with her…

La Celestina, music and script by Joaquín Nin-Culmell, based on La Celestina by Fernando de Rojas and texts by Juan del Encina (world premiere).
Cast: Alicia Berri, Alain Damas, Gloria Londoño, José García-Quijada, Andrés del Pino, Carolina Barca,…

Translation, adaptation and songs: Agathe Dimitrouka
Scenography: Nikos Petropoulos
Music: Thanos Mikroutsikos
Costumes: Giannis Metzikof
Choreography: Irene Alexiou
Lighting: Eleftheria Deko


Cast:
Nonika Galinea – Celestina
Kostas Gakis…

A factotum of an older woman with a rosary or beads tucked into her belt and with the name Celestine in red in a border.See the complete work: Paris (1527)

Factotums of Alisa and Pleberio that are the same used previously for Melibea and Sempronio.

The only image in the book that is not made up of factotums. It shows a man with a cane or staff and a crossed belt with bells and a woman in front of a building. The woman is showing a typical gesture of refusal or surprise, with her palm raised.…

Factotums of Sosia and Tristán that reuse the images of Pármeno and Sempronio.

Factotums of Areúsa and Centurio that reuse the images of Melibea and Calisto.

Factotums of Areúsa and Elicia with images previously used for Melibea and Celestina.

Factotums of Pleberio and Alisa that use the images of Pármeno and Celestina from previous acts.

Factotums of Areúsa and Elicia are images previously used for Melibea and Celestina respectively.

Factotums of Melibea and Calisto identical to the ones used in act I.

Factotum of Sosia, the same used for Pármeno in act VII and the following acts, and of Calisto, which is used in previous acts.

Factotums of Calisto, the same as previous acts, and of Lucrecia, the image used for her is the same as the one used in act IV for Celestina.

Factotums of Celestina and Calisto, the same used in previous acts.

Factotums of Celestina and Melibea used in previous acts.

Factotums of Pármeno and Sempronio already used in previous acts.

Factotums of Pármeno, same as the previous act, and of Areúsa, the same used in act I for Melibea.

Factotum of Pármeno as a youth with a sword, and of Celestina, the same as the cover and other acts.

Factotum of Celestina not used in any of the previous acts, and of Calisto, the same used in act I.

The same factotums of Celestina and Sempronio used in act II.

Factotum of Lucrecia (actually the same image used in act I for Melibea) and of Celestina who is shown as a woman with a flower in hand.

Factotums of Celestina --the same as on the cover-- and of Sempronio, the same as in act II.

The same engraving of the factotum of Celestina that appears on the cover and in many other acts. Factotum of Sempronio shows a young man whose dress seems to be that of a gentleman rather than a servant. This same image is repeated in other acts.

Two factotums of Calisto and Melibea with their names written in the borders in black ink. Rocky scenery behind Melibea and Calisto holding a rod or cane and wearing rounded toe shoes.