• Prologue
• Julia C. Hernández

The cover of the present volume returns to the theme of Federico García Lorca and La Barraca explored in volume 73, number 1. We also continue our reflections on the student troupe’s legacy ninety years after it first set forth to travel the Spanish countryside, one of the Second Republic’s state-sponsored misiones pedógicas designed to bring the theater of the Golden Age to contemporary rural audiences. Featured here is Lorca’s own sketch of another type of itinerant trickster drawn from La Barraca’s repertoire: the vagabond estudiante of Cervantes’s La cueva de Salamanca, who proves himself something of a skilled actor in staging a scene of his own design to sing for his supper (fig. 1). The 1932 re-envisioning of Cervantes’s student performer, refracted through the Lorquian lens and brought to life by La Barraca’s own student-actors, invites us to consider how the misiones pedagógicas of previous generations continue to inform our own teaching and research practices today.

La cueva de Salamanca, performed as part of a trio of Cervantine entremeses alongside La guarda cuidadosa and Los dos habladores, formed an essential part of La Barraca’s programing from its first sally to Burgo de Osma in the summer of 1932.¹ Lorca saw the entremeses as central to the company’s misión pedagógica, accessible in their themes, vivid in their language, direct in their structures.² While intimately involved in all stages of their production, Lorca took a particular interest in the details of La cueva’s costumes, sketching the designs for the four principal characters, including the Salamancan visitor, in his own hand (figs. 1–4).³

The resulting images are quintessential La Barraca: in the case of the student, the bright colors of his garb, designated by Lorca as “naranja” and “encarnada” in the sketch’s upper right-hand corner, suggest the vanguardist mise-èn-scene Lorca saw as essential to La Barraca’s mission to bring the public the most cutting edge of theater arts (see fig. 1 and cover); to Plaza Chillon’s eye they are “explosivos” and “picassianos,” reminiscent of Lorca’s design collaboration with Dalí for Mariana Pineda (201–02).⁴ [End Page 5]

The spoon-adorned bicorne atop the student’s head, however, evokes a more ancient visual tradition: the iconography of the wandering Salamancan student; roving and hungry, the stock character of the Medieval sopista would arrive, cutlery stowed in hat, to sing for their supper. Surviving as the symbol of Spain’s student choirs today—known as the tuna universitaria—the be-spooned hat, then as now, signals an act of performance. And indeed, Cervantes’s student, seeing an opportunity for a meal of more than the usual traveler’s sopa boba, mounts a memorable show for his hosts.

This performance, however, will be a dramatic one, with the student turned both actor and director. Here our sopista takes advantage of his host Pancracio’s interest in the occult arts of the fabled Cave of Salamanca to finagle himself a seat at the lavish table; with Pancracio having returned home unexpectedly, his wife Leonarda frantically hides the local sacristan and barber, illicit guests whom she is entertaining for dinner in his absence. The student, assuming the role of conjurer trained in the cave’s diabolical subterranean classrooms and pretending to summon forth infernal visitors, casts the barber and sacristan as “demonio” and “sacridiablo” in a farce at Pancracio’s expense (Cervantes 242). The duped host, blinded by his own thirst for secret learning, invites this cast of characters to sit down for the feast, the performance continuing with a serenade praising the inverted university that is the cave of Salamanca.

It is fascinating to envision La Barraca’s itinerant student performers, decked out in Lorca’s bold designs, portraying Cervantes’s own wandering student performer. And there is a final element of Lorca’s sketch that is particularly compelling to consider in light of these resonances between actor and character portrayed: the spoon that decorates the student’s cocked hat is not the traditional one of modest wood, but rather, as...

• 序幕
• 朱莉娅·C·埃尔南德斯

本卷的封面回归到 Federico García Lorca 和 La Barraca 在第 73 卷第 1 卷中探讨的主题。我们还继续反思学生剧团在西班牙乡村旅行 90 年后的遗产，这是其中之一第二共和国国家资助的教育计划旨在将黄金时代的戏剧带给当代农村观众。这里的特色是洛尔卡自己描绘的另一种类型的巡回骗子的素描，从拉巴拉卡的剧目中提取：塞万提斯的La cueva de Salamanca的流浪学生，他证明了自己在舞台上是一个熟练的演员为他的晚餐唱歌（图 1）。1932 年对塞万提斯学生表演者的重新构想，通过 Lorquian 镜头折射，并由 La Barraca 自己的学生演员赋予生命，邀请我们思考前几代人的教育使命如何继续为我们今天的教学和研究实践提供信息。

La cueva de Salamanca与La guarda cuidadosa和Los dos habladores一起作为 Cervantine entremeses 三重奏的一部分演出，从 1932 年夏天第一次前往 Burgo de Osma 开始，成为 La Barraca 节目的重要组成部分^。1 Lorca 看到了这些 entremeses作为公司教育使命的核心，主题易于理解，语言生动，结构直接。² Lorca 在密切参与制作的各个阶段的同时，对La cueva服装的细节特别感兴趣，他亲手勾画了包括 Salamancan 访客在内的四个主要角色的设计（图 1-4 ）。³

由此产生的图像是典型的 La Barraca：就学生而言，他的服装鲜艳的颜色，在素描的右上角被 Lorca 指定为“naranja”和“encarnada”，暗示了先锋派的 mise-èn-scene Lorca 认为 La Barraca 的使命是为公众带来最前沿的戏剧艺术（见图 1 和封面）；在西庸广场看来，它们是“爆炸物”和“毕加索”，让人想起洛尔卡与达利为Mariana Pineda (201-02) 的设计合作。⁴ [结束第 5 页]

然而，学生头上的勺子装饰的双角帽唤起了更古老的视觉传统：游荡的萨拉曼坎学生的肖像；流浪和饥饿，中世纪女歌手的典型角色会来，餐具放在帽子里，为他们的晚餐唱歌。作为今天西班牙学生合唱团的象征——被称为金枪鱼大学——幸存下来的勺子帽子，当时和现在一样，标志着一种表演行为。事实上，塞万提斯的学生看到有机会享用比一般旅行者的sopa boba更多的餐点，为他的东道主举办了一场令人难忘的表演。

然而，这场表演将是一场戏剧性的表演，学生同时成为演员和导演。这里是我们的女歌手利用他的主人潘克拉西奥对传说中的萨拉曼卡洞穴的神秘艺术的兴趣，在奢华的餐桌上为自己安排了一个座位；潘克拉西奥出人意料地回家了，他的妻子莱昂纳达疯狂地隐藏了当地的圣器和理发师，在他不在的情况下，她正在招待他们吃晚饭的非法客人。学生扮演在洞穴恶魔般的地下教室中训练的魔术师的角色，并假装召唤地狱来访者，在一场由 Pancracio 出资的闹剧中将理发师和圣器师描绘成“恶魔”和“圣器”（塞万提斯 242）。受骗的主持人被自己对秘密学习的渴望蒙蔽了双眼，邀请这组角色坐下来享用盛宴，表演继续进行，小夜曲赞美萨拉曼卡洞穴的倒立大学。

想象一下 La Barraca 的巡回学生表演者，穿着 Lorca 大胆的设计，描绘塞万提斯自己的流浪学生表演者，真是令人着迷。鉴于演员和所描绘的角色之间的这些共鸣，洛尔卡素描的最后一个元素特别引人注目：装饰学生三角帽的勺子不是传统的普通木勺，而是...