Peer Reviewed Articels by Tim Vergeer
Nederlandse Letterkunde
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Anuario Calderoniano, 2020
In this article, the two parallel adaptations in Dutch of Calderón’s El mayor encanto, amor are d... more In this article, the two parallel adaptations in Dutch of Calderón’s El mayor encanto, amor are discussed for their textual and scenographic changes. The first adaptation is the mythical play Ulysses in’t eylandt van Circe by the playwright Claude de Grieck, published in Brussels in 1668. The tragedy De toveres Circe is the second adaptation. It was translated by the playwright Adriaen Bastiaensz de Leeuw in Amsterdam in 1670. The main argument of this article is that the Dutch authors changed theatrical and scenographic elements of the original by Calderón on the basis of the Italian opera Ulisse all’isola di Circe (performed in Brussels in 1650 and another time in 1655) by the Italian composer Gioseffo Zamponi on the one hand, and the horrific tragedy Medea by the Dutch playwright Jan Vos on the other hand. Therefore, this article proposes that that El mayor encanto, amor by Calderón was disseminated differently in Brussels than in Amsterdam with regards to the emotional effects, the scenography of both works and the ideas about an adequate poetics to move the spectators.
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espanolEn este articulo, las dos adaptaciones paralelas en neerlandes de El mayor encanto, amor d... more espanolEn este articulo, las dos adaptaciones paralelas en neerlandes de El mayor encanto, amor de Calderon son investigados por los cambios textuales y escenograficos. La adaptacion primera es la comedia palatina Ulysses in’t eylandt van Circe del dramaturgo Claude de Grieck, publicada en Bruselas en 1668. La tragedia De toveres Circe es la adaptacion segunda. Es traducido por el dramaturgo Adriaen Bastiaensz de Leeuw en Amsterdam en 1670. El argumento de este articulo es que los autores neerlandeses han cambiado elementos teatrales y escenograficos del original de Calderon en base a la opera italiana Ulisse all’isola di Circe (representada en Bruselas en 1650 y otra vez en 1655) del compositor italiano Gioseffo Zamponi por una parte, y la tragedia horrorosa Medea del dramaturgo neerlandes Jan Vos por otra parte. Por eso, es argumentado que El mayor encanto, amor de Calderon es diseminado en Bruselas de otro modo que en Amsterdam en relacion con los efectos emocionales, las escenog...
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Leiden University Centre for the Arts in Society, 2020
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Journal of the LUCAS Graduate Conference, 2020
The two parallel adaptations of Pedro Calderón de la Barca’s El mayor encanto, amor, a retelling ... more The two parallel adaptations of Pedro Calderón de la Barca’s El mayor encanto, amor, a retelling of Circe’s and Ulysses’ story from Homer’s Odyssey, put animals onstage. However, the animals were certainly not all live animals, for the lions, bears, and tigers that feature in the two adaptations were too dangerous. Therefore, actors performed some animals via costumes. The article considers not only how this was a practical solution, but also how the costumes reflected the transformations that Circe performed on the Greek crewmen accompanying Ulysses. The transformations were incomplete, since even as animals the crewmen retained their ability to reason and, in some cases, even their speech. As such, the plays challenged the early modern understanding of animals as creatures without reason, solely led by their natural impulses. In their animal appearances, they failed to communicate with the human characters, but remained intelligible to the audience, disrupting the fiction of the play. Thus, the adaptations of El mayor encanto, amor questioned whether humans and animals are all that different.
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Interdisciplinary Literary Studies, 2017
In the seventeenth-century Netherlands, drama and politics were interwoven with one another. This... more In the seventeenth-century Netherlands, drama and politics were interwoven with one another. This was also the case with the controversial morality play Tieranny van Eigenbaat (Tyranny of Egoism, 1679), which opposed the House of Orange, and especially William III, Stadtholder of the Netherlands and King of England (who was, according to the writers of the play, a true example of uncontrolled egoism). Although the main character Eigenbaat (Egoism) disguises himself as a warrior woman (an Amazon) to seize power, his cross-dressing has not been discussed in relation to rumors surrounding William's alleged sexual preferences. By “reading against the grain,” this article discusses the so-called faultlines, where the characters display same-gender passions for each other. The article focusses on two examples of such relationships: Egoism, who seduces Lady Will, while in female disguise, and the intimate nature of Egoism's relationship with his male servant and slave, Vice. As suc...
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Interdisciplinary Literary Studies, 2017
In the seventeenth-century Netherlands, drama and politics were interwoven with one another. This... more In the seventeenth-century Netherlands, drama and politics were interwoven with one another. This was also the case with the controversial morality play Tieranny van Eigenbaat (Tyranny of Egoism, 1679), which opposed the House of Orange, and especially William III, Stadtholder of the Netherlands and King of England (who was, according to the writers of the play, a true example of uncontrolled egoism). Although the main character Eigenbaat (Egoism) disguises himself as a warrior woman (an Amazon) to seize power, his cross-dressing has not been discussed in relation to rumors surrounding William’s alleged sexual preferences. By “reading against the grain,” this article discusses the so-called faultlines, where the characters display same-gender
passions for each other. The article focusses on two examples of such relationships: Egoism, who seduces Lady Will, while in female disguise, and the intimate nature of Egoism’s relationship with his male servant and slave, Vice. As such, the article offers an elaboration on the thesis that Tieranny van Eigenbaat was used by the republican authorities of Amsterdam as a propaganda play to discredit William III for rule, as well as his offspring.
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De Zeventiende Eeuw. Cultuur in de Nederlanden in interdisciplinair perspectief, 2016
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De zeventiende eeuw, 2016
Theodore Rodenburgh was in an exceptional position to become a literary mediator of Spanish poeti... more Theodore Rodenburgh was in an exceptional position to become a literary mediator of Spanish poetics. He introduced the comedia nueva in the Dutch Republic at the beginning of the seventeenth century. This article investigates specifically how Rodenburgh dealt with Lope de Vega’s poetics, transforming them to make them fit the Dutch literary tradition. Through translation, adaptation and acculturation, the Iberian comedias became Dutch tragicomedies, plays that would become most
popular in the Dutch Republic. Rodenburgh’s endeavours mark the initial phase of the transfer of the comedia nueva to the Dutch Republic.
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La Rivista di Engramma, la tradizione classica nella memoria occidentale, Nov 2015
For two centuries the most emotional scene of the Gysbreght van Aemstel (1637) written by the Dut... more For two centuries the most emotional scene of the Gysbreght van Aemstel (1637) written by the Dutch dramaturg Joost van den Vondel was the Kloostermoorden tableau vivant. This remained the case until the nineteenth century, after which the tableau vivant was finally omitted during the performances. This article tries to reconstruct the emotional effects of this tableau vivant by placing it in the context of the Dutch seventeenth century. The analysis draws from intertextual and intermedial sources centred on the biblical story of the Massacre of the Innocents, which functioned as a model for the design of Vondel’s tableau vivant. Then, the article demonstrates how the Aristotelian catharsis and Aby Warburg’s concepts of Pathosformeln and Denkraum offer a fruitful framework for understanding which purpose the Kloostermoorden tableau vivant served within the play and within Dutch society as a whole.
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De Zeventiende Eeuw. Cultuur in de Nederlanden in interdisciplinair perspectief, 2014
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De zeventiende eeuw, 2014
Theodore Rodenburgh has been a controversial author in academic research and, as a result, his Vr... more Theodore Rodenburgh has been a controversial author in academic research and, as a result, his Vrou Iacoba (1638) has been neglected for many decades. This article addresses and demonstrates how Rodenburgh lets his own main character, Jacqueline of Bavaria, sing on stage. The article offers an interpretation of her songs and argues that, according to Rodenburgh, Jacqueline was not to blame for the loss of her counties to Philip of Burgundy. The songs are a way to create a so-called emotional community within the audience. By the means of a catharsis, this newly formed community is warned for the Republic's possible loss of its sovereignty, since the war with Spain had not yet ended in 1638. The citizens in Vrou Iacoba did not accept their loss of sovereignty, and neither should the people of the Republic.
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Edited Volumes by Tim Vergeer
Leiden University Centre for the Arts in Society, Jan 3, 2020
Wetensch. publicati
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Popular by Tim Vergeer
Van Constantijntje tot Tonio. Het dode kind in de Nederlandse literatuur, 2018
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Vertalerslexicon voor het Nederlandstalig gebied
Vertalingen en bewerkingen van Spaans toneel in de zeventiende-eeuwse Nederlanden Het zijn grote ... more Vertalingen en bewerkingen van Spaans toneel in de zeventiende-eeuwse Nederlanden Het zijn grote producties met actie, spektakel, romantiek en verwarring. Helden en heldinnen weten ondanks grote tegenslag toch alles op het nippertje te redden. En de hoofdrollen worden gespeeld door de beroemdste acteurs. Dit is niet een beschrijving van Hollywood in de twintigste eeuw, maar van Madrid in de zestiende en zeventiende eeuw. Al ver voor de uitvinding van film en de eerste Hollywoodsuccessen uit de jaren 1920 gingen mensen in steden als Amsterdam in drommen naar de theaters om de première bij te wonen van een zogeheten comedia, een tragikomisch toneelstuk van Spaanse oorsprong, vertaald en bewerkt voor de Nederlandse markt.
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Jaap de Jong, Christoph Pieper and Adriaan Rademaker (eds.), Beïnvloeden met Emoties. Pathos en Retorica, 2015
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Projects by Tim Vergeer
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Professional by Tim Vergeer
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The Year's Work in Modern Language Studies, 2016
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Medieval and Early Modern Studie
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Peer Reviewed Articels by Tim Vergeer
passions for each other. The article focusses on two examples of such relationships: Egoism, who seduces Lady Will, while in female disguise, and the intimate nature of Egoism’s relationship with his male servant and slave, Vice. As such, the article offers an elaboration on the thesis that Tieranny van Eigenbaat was used by the republican authorities of Amsterdam as a propaganda play to discredit William III for rule, as well as his offspring.
popular in the Dutch Republic. Rodenburgh’s endeavours mark the initial phase of the transfer of the comedia nueva to the Dutch Republic.
Edited Volumes by Tim Vergeer
Popular by Tim Vergeer
Projects by Tim Vergeer
Professional by Tim Vergeer
passions for each other. The article focusses on two examples of such relationships: Egoism, who seduces Lady Will, while in female disguise, and the intimate nature of Egoism’s relationship with his male servant and slave, Vice. As such, the article offers an elaboration on the thesis that Tieranny van Eigenbaat was used by the republican authorities of Amsterdam as a propaganda play to discredit William III for rule, as well as his offspring.
popular in the Dutch Republic. Rodenburgh’s endeavours mark the initial phase of the transfer of the comedia nueva to the Dutch Republic.