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El propio Hamlet es un ser en continua transformación. En él caben la ceremoniosidad, la cortesía y la reflexión, junto a la pasión, la burla, el enigma o la posibilidad de la locura. En el castillo de Elsenor, en un ambiente que emana corrupción y desconfianza, claustrofóbico y hostil, se alternan escenas solemnes y reveses irónicos, al tiempo que se agita una corte de personajes cuyo sentido último será llevar a Hamlet a vencer su tensión interna y cumplir la venganza por la muerte de su padre.\u003c\/p\u003e\n\u003cp\u003eEl magnífico estudio de Ángel-Luis Pujante que precede su traducción analiza el carácter incoherente e incierto de la tragedia y sitúa el atractivo de una obra tan compleja y rica en ese halo de misterio que suscita la duda, requiere la meditación y que la ha convertido en \u003cstrong\u003euno de los grandes mitos de Occidente.\u003c\/strong\u003e\u003c\/p\u003e","brand":"William Shakespeare","offers":[{"title":"Default Title","offer_id":44941146095685,"sku":"BS-LIB-758638","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2482\/2494\/files\/9786070758638-HD.jpg?v=1777471104"},{"product_id":"bodas-de-sangre-obra-de-teatro-blood-wedding-a-play","title":"Bodas de Sangre","description":"\u003cp\u003e\u003cstrong\u003eUna de las piezas teatrales imprescindibles de Federico García Lorca.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFederico García Lorca dirigió \u003cem\u003eLa Barraca\u003c\/em\u003e, experiencia teatral decisiva para la escena española. Desde 1918, cuando publicó su primer libro, hasta su muerte, no dejó nunca de componer versos y escribir teatro. Austral presenta en este volumen \u003cem\u003eBodas de sangre\u003c\/em\u003e, ejemplo esencial de su obra dramática en el que construye una tragedia cargada de lirismo y de elementos simbólicos a partir de un hecho real, de una pequeña noticia del periódico. Escenifica, en prosa y en verso, la crónica llena de presagios de una pasión, de la lucha por una mujer que lleva hasta la muerte a los dos rivales.\u003c\/p\u003e\n\u003cp\u003eQuien fuera director de la Real Academia Española, Fernando Lázaro Carreter, analiza en su Introducción la génesis de la tragedia y su posición en la obra de Lorca, desvelando su simbología y su significación última: \u003cstrong\u003e«Es la mujer la figura en que se anuda el hilo conductor de la tragedia: los hombres son simples contrapuntos, motivos externos de la pasión de las mujeres.»\u003c\/strong\u003e\u003c\/p\u003e","brand":"Federico García Lorca","offers":[{"title":"Default Title","offer_id":44948658028613,"sku":"BS-LIB-731341","price":9.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2482\/2494\/files\/9786070731341-HD.jpg?v=1777556248"},{"product_id":"el-mercader-de-venecia-como-gusteis","title":"El Mercader de Venecia \/ Como Gustéis","description":"\u003cp\u003e\u003cb\u003e\u003cem\u003eEl mercader de Venecia\u003c\/em\u003e y \u003cem\u003eComo gustéis\u003c\/em\u003e pertenecen al grupo de las llamadas comedias románticas de William Shakespeare. En ellas, con el amor como motor principal de la acción, los protagonistas alcanzan la solución feliz en un mundo alternativo de fantasía.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEl mercader de Venecia\u003c\/em\u003e y \u003cem\u003eComo gustéis\u003c\/em\u003e pertenecen al grupo de las llamadas «comedias románticas» de William Shakespeare. En ellas, con el amor como motor principal de la acción, los protagonistas alcanzan la solución feliz en un mundo alternativo de fantasía -Belmont, en \u003cem\u003eEl mercader de Venecia \u003c\/em\u003ey el bosque de Arden en \u003cem\u003eComo gustéis\u003c\/em\u003e-, no sin antes haber tenido que enfrentarse a obstáculos materiales y humanos, estos últimos personificados en seres anticómicos y malvados -Shylock y Jaime-.\u003c\/p\u003e\n\u003cp\u003ePero la variedad de tonos de estas comedias no permite encerrarlas en una sola fórmula dramática. El traductor y preparador de esta edición, Ángel Luis Pujante, nos previene en su Introducción contra cualquier lectura simplista de estas obras, desvelando las ironías, ambigüedades y sutilezas de \u003cem\u003eEl mercader de Venecia\u003c\/em\u003e, así como el carácter anticonvencional de \u003cem\u003eComo gustéis\u003c\/em\u003e, en la que, a través de un excelente ejercicio literario, Shakespeare expresa con gran sabiduría la teatralidad de la vida.\u003c\/p\u003e","brand":"William Shakespeare","offers":[{"title":"Default Title","offer_id":44950236856389,"sku":"BS-LIB-793783","price":13.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2482\/2494\/files\/9786070793783-HD.jpg?v=1777579255"},{"product_id":"la-importancia-de-llamarse-ernesto-el-abanico-de-lady-windermere-obra-de-teatro-the-importance-of-being-earnest-lady-windermeres-fan-a-play","title":"La Importancia de Llamarse Ernesto, El Abanico de Lady Windermere","description":"\u003cp\u003e\u003cstrong\u003eDos obras imprescindibles del teatro inglés del siglo XIX.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOscar Wilde\u003c\/strong\u003e (1854-1900) \u003cstrong\u003ees para muchos la figura emblemática del dandi inglés.\u003c\/strong\u003e Pero esa imagen del artista del esteticismo extremado también se vincula a la figura perseguida por la doble moral dominante de su tiempo. Durante décadas después de su muerte, Wilde fue objeto de controversia y, a pesar de la condena judicial y moral a la que fue sometido, el interés del público por su obra no decreció.\u003c\/p\u003e\n\u003cp\u003eSu producción abarca casi todos los géneros literarios (\u003cstrong\u003enovela, cuento, ensayo, poesía\u003c\/strong\u003e), pero es en sus obras teatrales donde despliega todo su talento artístico, como lo demuestran \u003cb\u003e\u003cem\u003eLa importancia de llamarse Ernesto\u003c\/em\u003e y \u003cem\u003eEl abanico de Lady Windermere\u003c\/em\u003e\u003c\/b\u003e. 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Quizá es inimaginable comenzar de otro modo en vista de que \u003cem\u003eLa memoria de los elefantes\u003c\/em\u003e, como indica Sylvia Bofill en su prólogo, es una reflexión sobre los límites del lenguaje verbal que tanto ha encumbrado Occidente, y sobre la relevancia de lenguajes no verbales —sonido, movimiento, ritmo—, materia prima del teatro desde sus ancestrales inicios. Asimismo, en la pieza de Burgos la función de conciencia y memoria que el teatro ha cumplido en la historia de la humanidad se confirma de manera demoledoramente clara en la medida en que nos enfrenta a la desmemoria y ahistoricidad individual y colectiva que padecemos.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eLa memoria de los elefantes\u003c\/em\u003e, además, cuestiona y provoca en muchos otros registros: las relaciones de género imperantes, la tiranía de los linajes y las genealogías, la sumisión de pueblos enteros a clases y sistemas políticos perversos e incompetentes, el empobrecimiento de los sentidos, la precariedad de la comunicación humana. Si todo eso suena a Puerto Rico, aún hay más.\u003c\/p\u003e\n\u003cp\u003eLlevamos siglos jurando la supremacía de la especie humana y actuando en sintonía con ello. Los tan cacareados recursos naturales existen ante nosotrxs porque podemos manipularlos para nuestro beneficio, aunque tamaña explotación resulte en el paradójico caso que no haya ni recursos ni nosotrxs en un futuro próximo. A diario nos asaltan decenas de cadáveres de diversas especies en las calles de nuestro país. Son como los elefantes en el texto de Burgos, habitantes primeros del país sin nombre que fueron quemados por la colonización humana. Los elefantes regresan por sus tierras y por los restos de los suyos, y los humanos, quienes plantaron la bandera de la propiedad privada tanto como lo hicieron los conquistadores en las Américas, se sienten aterrorizados. Ese, como nos recuerda Eduardo Galeano, es el verdadero \"juicio final.\" Nos pedirán explicaciones los picos, las patas, las ramas, las escamas, las plumas, las trompas...\u003c\/p\u003e\n\u003cp\u003eLos elefantes tienen memoria. Los elefantes se organizan de manera colectivista. 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