Homework for you

La Gringa De Florencio Sanchez Analysis Essay

Category: Essay

Description

Florencio Sánchez: Wikis (The Full Wiki)

Florencio Sánchez: Wikis

Florencio Sánchez came from a large family; he had eleven siblings and his parents moved his family to the city of Treinta y Tres and later to Minas. where he began his studies at an elementary school. At a very young age, he published a few satirical articles in a newspaper. It was around this age which he participated as actor and author in some family musicals (with staged representations).

After having abandoned his high school career, Sánchez alternated his life between Montevideo. Buenos Aires and Rosario. His intense works in journalism and theater unfolded in these cities. In Montevideo he joined the International Center for Social Studies (a literary organization). In Rosario he was a secretary for the writing department of La República ("The Republic"), a publication led by Lisandro de la Torre. His first writings of a social and political nature were published in La República. The critical and scathing realism was apparent in his literary work for the newspaper; this writing style would later characterize his theatrical productions.

Sánchez decided to move to Buenos Aires. Argentina in 1892 after spending some time in Rosario. a city in Santa Fe. Argentina. He would remain there for two years. After his return to Montevideo in 1894. he began working as a journalist for the newspapers El Nacional ("The National"), La Razón ("The Reason"), and El Siglo ("The Sign" or "The Century"). He published interviews and wrote political articles which he adorned by incorporating dialogues from its protagonists. It was during his settlement in Buenos Aires that he began to acquire a name for himself as a journalist. He started to participate in intellecutal circles and extravagantly enjoy the Buenos Aires night life.

In 1897 when the civil war broke out in Uruguay, he returned to his home country and fought under the ranks of Aparicio Saravia in continuation of his family's history of political inclination. It was during this phase of his life which he came into contact with certain outstanding intellectuals, such as Eduardo Acevedo Díaz. Shortly after his time fighting in the war, his political affiliation with anarchy would begin. He would write in La Protesta ("The Protest") and in the magazine El Sol ("The Sun"), the latter being led by Alberto Ghiraldo. Sánchez's plays Ladrones ("Thieves") and Puertas adentro ("Doors Within") would be written within the anarchist model.

On August 13, 1903. his first play, M'hijo el dotor. was put to show in the Comedy Theater of Buenos Aires. It had great success and was followed by a short but intense period of playwriting, all of which had similar success in both Buenos Aires and Montevideo. These included a farce entitled La gente honesta ("The Honest People") and perhaps his most famous play, Canillita ("The Newspaper Vendor"), both also written in 1903. Canillita has been interpreted by a Spanish operetta company.

It was the success of M'hijo el dotor which led Sánchez to marry Catalina Raventos on September 25, 1903 after being in a relationship with her since 1897. His unorganized economic life caused him to sell his plays to several impresarios and theater actors for very little money during a time of financial hardship. He frequently accepted advances on his pay for plays which he had not yet finished or begun writing. This led to further problems and he sometimes had to avoid his creditors and write a few plays hurriedly, giving them away without an appropriate revision.

In 1906. Sánchez settled down in La Plata. where he worked for the Office of Anthropometric Identification, which was funded by Juan Vucetich. His uncaring night life may have led to his catching tuberculosis. which was spreading rapidly during the late 1880s and early 1900s. It was colloquially abbreviated tisis and a person with tuberculosis was viciously called tísico (male) or tísica (female). The infectious disease is highly contagious and affects the ability to breathe, gradually ruining the lungs' surfaces. A victim of tuberculosis would cough frequently and expel blood through saliva from the lungs, which was the first symptom needed to diagnose someone with the disease.

For many years he had had the intention of travelling to Europe to create a both socially and economically successful play. In 1909 he found an opportunity to go and boarded the Italian ship Principe di Udine on September 25, arriving in Genova on October 13. In Italy, he dedicated himself principally to search for a manner to connect himself with the theater companies and for an opportunity to have his plays put on in Spain and France. Sánchez's behavior was completely unusual; upon receiving 3000 Francs in 1910 for the representation of his play Los muertos. he spent all of his money in just a few days in Niza on women and by gambling in casinos.

After having traveled through much of Italy and southern France, he went to Milan, an important center for theater activity, to place himself in contact with some important theater impresarios. Nonetheless, his disease was affecting his health rapidly and he was hastily ordered to travel to Switzerland because it was believed that the pure air from the Alpine mountain area would help his health. After arriving in Switzerland by train he was only turned down from hotels and hospitals; no one would admit him because of his contagious disease. His only option was to return to Milan. He was finally admitted into a hospital in Milan on November 2 and died on November 7 at the age of thirty-five.

A passionate observer, Sánchez's favorite themes for his plays were family, the tenament and immigrants; he also represented different social classes on both sides of the Silver River (Río de la Plata ), displaying through the everyday life of and dialogue between his characters both the misery and hope of the working class.

Sánchez is regarded as Uruguay 's leading playwright. His dramatic plays include:

  • La gente honesta [English: The Honest People] Farce; premiere- June 26, 1903. Retitled Los curdas .
  • M'hijo el dotor [English: My Son, the Doctor] Comedy in three acts; premiere- August 13, 1903
  • Canillita [English: The Newspaper Vendor]Farce; premiere- October 2, 1903
  • Cédulas de San Juan [English: San Juan's Warrant] Farce in two acts; premiere- August 7, 1904
  • La pobre gente [English: The Poor People] Comedy in two acts; premiere- October 1904
  • La gringa [English: The Foreigner (female)] Comedy in four acts; premiere- November 21, 1904
  • Barranca abajo [English: Downwards Gully] Tragedy in four acts; premiere- April 26, 1905
  • Mano santa [English: Holy Hand] Farce; premiere- June 9, 1905
  • En familia [English: In Family] Comedy in three acts; premiere- October 6, 1905
  • Los muertos [English: The Dead] Comedy in three acts; premiere- October 23, 1905
  • El conventillo [English: The Tenement] Traditional Spanish Operetta in one act; premiere- June 22, 1906
  • El desalojo [English: The Vacancy] Farce; premiere- July 16, 1906
  • El pasado [English: The Past] Comedy in three acts; premiere- October 22, 1906
  • Los curdas [English: The Kurds] Farce; premiere- January 2, 1907
  • La tigra [English: The Tigress] Farce; premiere- January 2, 1907
  • Moneda falsa [English: False Coin] Farce; January 8, 1907
  • El cacique Pichuelo [English: The Pichuelan Boss] Traditional Spanish Operetta; premiere- January 9, 1907
  • Los derechos de la salud [English: Health Rights] Comedy in three acts; premiere- December 4, 1907
  • Nuestros hijos [English: Our Children] Comedy in three acts; premiere- June 1908
  • Marta Gruni Farce; premiere- July 1908. Utilized as a text for an opera written by Juarés Lamarque Pons in 1967
  • Un buen negocio Comedy in two acts; premiere- May 2, 1909
Political activities

Sánchez was a supporter of the conservative nationalist leader Aparicio Saravia. He sided with Saravia in the Uruguayan Civil War of 1897, but disillusioned by its aftermath, Sánchez became an anarchist [ 1 ] and wrote for the anarchist periodical La Protesta (English. Protest ).

References
  1. ^ Roberto González Echevarría, Enrique Pupo-Walker (1996). The Cambridge History of Latin American Literature. Cambridge University Press. p. 551. ISBN 9780521340694. "The giant of all is the Uruguayan Florencio Sánchez (1875-1910). Disillusioned by the revolution of 1897, he abandoned traditional politics for anarchism."
  • Florencio Sanchez: Vida y obra. La Escuela Digital. <http://www.escueladigital.com.uy/biografias/f_sanchez.htm >.
  • Roberto González Echevarría, Enrique Pupo-Walker (1996). The Cambridge History of Latin American Literature. Cambridge University Press. p. 551. ISBN 978-0-521-34069-4.
This article incorporates information from the revision as of January 31, 2009 of the equivalent article on the Spanish Wikipedia .

Other articles

Florencio Sánchez: definition of Florencio Sánchez and synonyms of Florencio Sánchez (Italian)

Arabic Bulgarian Chinese Croatian Czech Danish Dutch English Estonian Finnish French German Greek Hebrew Hindi Hungarian Icelandic Indonesian Italian Japanese Korean Latvian Lithuanian Malagasy Norwegian Persian Polish Portuguese Romanian Russian Serbian Slovak Slovenian Spanish Swedish Thai Turkish Vietnamese

Arabic Bulgarian Chinese Croatian Czech Danish Dutch English Estonian Finnish French German Greek Hebrew Hindi Hungarian Icelandic Indonesian Italian Japanese Korean Latvian Lithuanian Malagasy Norwegian Persian Polish Portuguese Romanian Russian Serbian Slovak Slovenian Spanish Swedish Thai Turkish Vietnamese

definition - Florencio Sánchez Florencio Sánchez

Nacque in Uruguay dopo si trasferiere in Argentina per la sua attività giornalistica, vi trascorse quasi interamente la sua breve e povera vita. Col suo vigoroso istinto drammatico, con un vivo senso della sintesi d'azione e di parola, con una tecnica un po' rudimentale, ma sicura e piena di effetto, Sànchez impostò robuste vicende su problemi morali e sociali.

Anche se non di rado l'impostazione a tesi contribuisce a serrarli in una rigidità piuttosto meccanica, molto spesso un'autentica emozione vivifica i contrasti drammatici delle sue teorie.

Sànchez è considerato il vero iniziatore del teatro moderno argentino e, in generale, di quello dell'America meridionale.

Opere principali
  • La gringa - La straniera, del 1904.
  • En familia - In famiglia, del 1905.
  • Barranca abajo - Giù per la china, del 1905.
Altri progetti

Florencio S - nchez Biography

Florencio Sánchez Florencio Sánchez Biography

(Great Authors of World Literature, Critical Edition)

Florencio Sánchez (SAHN-chays) was born in 1875, the first of eleven children of a middle-class family. His father’s political activities kept the family on the move and prevented the children from receiving much of a formal education. As a young man Sánchez worked as a secretary and in various jobs on newspapers. His first play was written for the entertainment of a club of political protesters to which he belonged. His second attempt was censored by city officials of Rosario, where he was a newspaper reporter, but when its performance was prevented, he worked all night setting it in type and had it ready for the public to read the next morning. He rewrote his first play as a musical comedy, Canillita. which takes its title from its newsboy hero. The success of the play put that word into the Argentine language as a nickname for all newsboys.

In 1903 Sánchez wrote his first important play, My Son, the Lawyer. During the six years following the success of this tragedy he produced a total of twenty plays, eight long dramas and twelve one-act sketches. He wrote rapidly, often on telegraph blanks, and did his best work in noisy bars and in crowds. He reportedly declared that he needed only one day to complete the four-act The Foreign Girl. called by one critic “the tragedy of the Argentine race.” Critics have pointed out certain technical flaws, but the emotions of the play and the realistic pictures of people and life on.

(The entire section is 533 words.)

Get Free Access

Start your 2-day free trial to unlock this resource and thousands more.

30,000+ Study Guides

Save time with thousands of teacher-approved book and topic summaries.

Get Homework Help

Ask real teachers questions on any subject or search 300,000+ answers.

On the Go Access

Learn from study guides, Homework Help, and quizzes on the eNotes iOS app.

Florencio Sánchez Bibliography

(Great Authors of World Literature, Critical Edition)

Costa, René de. “The Dramaturgy of Florencio Sánchez: An Analysis of Barranca abajo .” Latin American Theater Review 7, no. 2 (1974).

Foster, David W. “Ideological Shift in the Rural Images in Florencio Sánchez’s Theater.” Hispanic Journal 11, no. 1 (1990).

Jones, Willis K. “Florencio Sánchez.” In Behind Spanish American Footlights. Austin: University of Texas Press, 1966.

Jones, Willis K. “The Gringa Theme in River Plate Drama.” Hispania 25 (1942).

Richardson, Ruth. Florencio Sánchez and the Argentine Theatre. 1933. Reprint. New York: Gordon Press, 1975.

Access our Florencio Sánchez Study Guide for Free

Start your 2-day free trial to access our Florencio Sánchez study guide, along with more than 30,000 other titles. Get help with any book. Start Free Trial

Florencio Sánchez Homework Help Questions

If you're looking for articles, a great resource is Google Scholar. To use this tool, you simply go to the Google homepage and choose the link that says "more" at the top of the page (adjacent to. Ask a question Related Topics Popular Topics

Project MUSE - Zola, el naturalismo y la identidad nacional en tres dramas de Florencio Sánchez

This article studies three plays by Florencio Sánchez, La gringa (1904), La pobre gente (1904) and Barranca abajo (1905), in which the presence of Naturalist themes, mainly that of atavistic degeneration, carries this theatre beyond simple awareness of social ills to a direct engagement with the most pressing issues of socio-economic structure and national identity present in Argentinean society at the turn of the century. I first consider Emile Zola's proposals for a Naturalist theatre as reflected in these plays through the themes of atavistic degeneration and hereditary and environmental determinism. In the second part, I analyze Sánchez' ideological use of these elements as an attempt at working through the complex set of problems facing the young nation of Argentina in a time of economic and identitary transition. Sánchez put his theatre at the service of social change, following Zola's proposals. He used theatre to transform a society that inherited the social problems of industrialization of late-nineteenth-century Europe while facing the implications of large-scale immigration for the ideological field of Argentinean national identity.

If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click 'Authenticate'.

You are not currently authenticated.

Florencio Sánchez (Author of M hijo el dotor)

Florencio Sánchez

Florencio Sánchez was an Uruguayan playwright, journalist and political figure. He is considered one of the founding fathers of theater in the River Plate region of Argentina and Uruguay.

Florencio Sánchez's parents moved him and his eleven siblings to the cityMore Florencio Sánchez was an Uruguayan playwright, journalist and political figure. He is considered one of the founding fathers of theater in the River Plate region of Argentina and Uruguay.

Florencio Sánchez's parents moved him and his eleven siblings to the city of Treinta y Tres and later to Minas, where he attended elementary school. At a very young age, he published a few satirical articles in a newspaper and participated as actor and author in some family musicals (with staged representations).

After abandoning high school, Sánchez alternated his life between Montevideo, Buenos Aires and Rosario. His intense works in journalism and theater unfolded in these cities. In Montevideo he joined the International Center for Social Studies (a literary organization). In Rosario he was a secretary for the writing department of La República ("The Republic"), a publication led by Lisandro de la Torre. His first writings of a social and political nature were published in La República. The critical and scathing realism was apparent in his literary work for the newspaper; this writing style would later characterize his theatrical productions.

Sánchez moved to Buenos Aires, Argentina, in 1892, after spending some time in Rosario, a city in Santa Fe, Argentina. He remained there for two years. After his return to Montevideo in 1894, he began working as a journalist for the newspapers El Nacional ("The National"), La Razón ("The Reason"), and El Siglo ("The Century"). He published interviews and wrote political articles in which he incorporated dialogues among the protagonists. In Buenos Aires, he began to make a name for himself as a journalist. He started to participate in intellectual circles and the Buenos Aires night life.

In 1897, when the civil war broke out in Uruguay, he returned to his home country and fought under Aparicio Saravia, thus continuing his family's history of political action. During this phase, he came into contact with intellectuals such as Eduardo Acevedo Díaz. Shortly after his wartime service, his political affiliation with anarchy began. He wrote in La Protesta ("The Protest") and in the magazine El Sol ("The Sun"), the latter being led by Alberto Ghiraldo. Sánchez's plays Ladrones ("Thieves") and Puertas adentro ("Doors Within") were written in the anarchist model.

On August 13, 1903, his first play, M'hijo el dotor ("My son, the doctor"), was performed in the Comedy Theater of Buenos Aires. It was a success, and he followed up with a short but intense period of playwriting, with similar success in both Buenos Aires and Montevideo. These new plays included a farce entitled La gente honesta ("The Honest People") and perhaps his most famous play, Canillita ("The Newspaper Vendor"), both also written in 1903. Canillita has been interpreted by a Spanish operetta company.

With the success of M'hijo el dotor, Sánchez married Catalina Raventos on September 25, 1903, after being in a relationship with her since 1897. His unorganized economic life caused him to sell his plays to several impresarios and theater actors for very little, when he needed money. He frequently accepted advances for plays which he had not yet finished or begun writing, and he sometimes wrote plays hurriedly, giving them away without final revisions.

In 1906, Sánchez settled in La Plata, where he worked for the Office of Anthropometric Identification, which was funded by Juan Vucetich. He contracted tuberculosis, which was spreading rapidly during the late 1880s and early 1900s.

For many years, he had intended to travel to Europe to create a socially and economically successful play. In 1909, he found an opportunity to go and boarded the Italian ship Principe di Udine on September 25, arriving in Genova on October 13. In Italy, he dedicated himself finding a way to connect with the theater companies, for an opportunity to see his plays produced in Spain and France. Upon receiving 3000 francs in 1910 for his play Los muertos Less

Florencio Sánchez’s Books

Avg rating: 3.13 206 ratings 9 reviews

  • M'hijo el dotor

Published 1903 8 Editions