By Santiago GarcíaDirected by Jorge Alí Triana

QuijoteEl

Additional support has beenprovided by public funds from

The New York State Council onthe Arts and the Department

of Cultural Affairs of the City of New York.

Study Guideby Alberto S. Galindo

All photos by Michael PalmaLayout by Soledad del RíoCOPYRIGHT REPERTORIO ESPAÑOL 2006

This production of “El Quijote” was made

possible by Grupo Santanderas part of Repertorio

Español’s 2006 SpanishTheatre Festival.

CCOONNTTEENNTTSS

II.. Profile:Miguel de Cervantes

IIII.. Context: Renaissance and the Baroque

IIIIII.. Literary Studies on Don Quixote and ItsCultural Value

IIVV.. Cultural Reinterpretations of Don Quixote

VV.. El Quijote at Repertorio Español

VVII.. Adaptation and Synopsis

VVIIII.. Study Questions

VVIIIIII.. Discussion and Possible Research Topicsin Don Quixote

VVIIXX.. Activities with Other Literary Texts

XX.. Further Reading & Reviews

The year 1605 marked the publication of Elingenioso hidalgo Don Quixote de la Mancha

(The Ingenious Hidalgo Don Quixote of LaMancha), a text that some critics call the first

modern novel in literary history.

QuijoteEl

Ricardo Barber and Silvia Sierra in the opening scene of “El Quijote”

II.. PPrrooffiillee::MMiigguueell ddee CCeerrvvaanntteess

In 1547, Miguel de Cervantes Saavedra wasborn in the town of Alcalá de Henares, northeast ofMadrid, Spain. Twenty years later, by 1567,Cervantes published his first poem in honor of thesecond daughter of King Philip II. Cervantes starteda career as a soldier in 1570, which took him toItaly. One year later, an alliance of Christianfactions in Europe known as the Holy League foughtthe Ottomans on a naval battle in Lepanto, a town onthe Corinthian Gulf, off present-day Greece. Duringthis battle, Cervantes was shot in his left hand, wasunable to properly use it again and became known as“El Manco de Lepanto,” the Man Maimed at Lepanto.After continued participation in the military,Cervantes decided to return to Spain, but he wascaptured by Muslim pirates on his way back. Bothhis brother and he were taken to Algiers as slaves bythe Turks. He was held captive for five years until hewas ransomed by a group of Trinitarian friars. Afterreturning to Madrid, he married Catalina de Salazary Palacios in 1584.

His literary career continued with thewriting in 1581 of the plays El trato de Argel (TheWays of Algiers) and El cerco de Numancia (TheSiege of Numancia). In 1585, Cervantes’s firstnovel, La Galatea, was published to minimal reactionfrom the literary critics and scholars. Cervantesworked for the Spanish Invincible Armadathroughout this time until the fleet’s famous defeatby England in 1587. At that time, Cervantes becamea tax collector and was imprisoned in 1597 forirregular transactions.

The year 1605 marked the publication of Elingenioso hidalgo Don Quixote de la Mancha (TheIngenious Hidalgo Don Quixote of La Mancha), a textthat some critics call the first modern novel inliterary history. This claim about the first modernnovel is based on studies that present Don Quixote asa new combination and reinterpretation of pastliterary genres such as pastoral texts along withones of chivalry and the picaresque. Cervantes alsomanaged to incorporate texts with characters andplot lines involving both Christian and Muslimreligions.

The immediate success of Don Quixote wasmostly in terms of publication numbers--withsixteen editions in Cervantes’s lifetime--asexcessive pirate copies did not pay royalties toCervantes. Alonso Fernández de Avellaneda tookadvantage of this literary achievement and wrote afictitious second volume that mocks Cervantes andhis work. And therefore Cervantes published thesecond volume to Don Quixote in 1615. The firstEnglish translation of both volumes of Don Quixotewas published in 1612 and 1620, respectively,with numerous translations into other languages.

His Novelas ejemplares (ExemplaryStories) were printed in 1613 between the twovolumes of Don Quixote. His death coincided with thedeath of William Shakespeare, both in 1616.

El Quijote

Miguel de Cervantes SaavedraBorn in Alcalá, Spain in 1547

The immediate success of Don Quixote was mostlyin terms of publication numbers--with sixteen editions in

Cervantes’s lifetime.

Ricardo Barber as Don Quixote

IIII.. CCoonntteexxtt:: RReennaaiissssaannccee aanndd tthhee BBaarrooqquuee

The Spanish Golden Age is comprised by thelate years of the 16th Century Renaissance and theBaroque of most of the 17th Century. Manyhistorians and literary scholars go further back inhistory to consider 1492 as a crucial date to thebeginnings of this Golden Age due tothe reorganization of the SpanishCatholic Empire by retakingpolitical power from Muslims andthe expulsion of Jews from theIberian Peninsula. 1492 was alsomarked by the importantpublication of the Gramáticacastellana, the first grammar of theSpanish language. This text becamecrucial to the establishment ofSpanish--then known as Castilian--as the main language of the empire.Main literary works began to bewritten in this language.

The Renaissance is ahistorical and cultural periodfocused in the harmony of the sensesand admiration of the classicalantiquity of Greece and Rome. TheRenaissance leads into the Baroque,a period characterized byintensifying the experiences of thesenses, emotions and the intellect.Don Quixote was a text produced during theRenaissance, but it was already showing some of thetendencies that would later become the Baroque.During the Baroque, there was a constant questioningof the differences between appearances and whatseemed to be real. Cervantes took advantage of thissituation by presenting in Don Quixote,for example,men dressed as women, or windmills believed to begiants. This overwhelming and dynamic stimulationwas reflected on a style that sought to focus on starkcontrasts and exaggeration in style. Unlike thepessimism that characterizes the Baroque,Cervantes held unto the optimist and utopian idealsof the Renaissance by suggest that dialogue andcompromise are crucial to any culture. As part ofthis optimism, instead of merely reflecting thereligious intolerance of Counter Reformation of theCatholic Church, Cervantes engaged with otherpossibilities for interaction between religions.

Don Quixote is therefore a combination andconfrontation of the ideals of the Renaissance and thedoubts and excitement of the Baroque. On one hand,the novel introduces many levels of humor andsatire--by means of Don Quijote’s adventures andperhaps ridiculous situations--with the objective

of dealing with the constant pessimism around thecharacters. Such idealism is crucial to theRenaissance. On the other hand, the novel alsopresents the keen interest of the Baroque in realityitself and the hardships of daily life. Thus, the novelis constantly negotiating the two periods and twoways of creating art.

The Spanish Golden Age produced manyinfluential literary texts in a variation of genres.

Amongst the notable writers of thisperiod is Luis de Góngora (1561-1627), who focused on the verseform and, especially the art ofconstructing metaphors. Franciscode Quevedo (1580-1645) wrote inboth verse and prose to discussspiritual values and the goal of aspiritual life. Theater reached itspinnacle at the time in the works ofLope de Vega (1562-1635) andPedro Calderón de la Barca (1600-1681). Lope de Vega, the mostprolific Spanish writer, wrote manyplays for three major audiencesgrouped by the Catholic Church, themonarchy, or the rest of thepopulation. His plays dealt withissues of the historical and epic past,religion, or the honor of the people.Calderón’s work presents anelaborate language rich in metaphorsand concepts that reflected thecreative environment of the Baroque.At the time, Lope de Vega’s theater

was geared towards a more general public, whileCalderón’s was acclaimed in a more aristocraticsetting.

The cultural production of art and literatureduring the late Renaissance and the Baroque fostereda creative environment that nurtured thedevelopment of these writers and their texts.Through the juxtaposition and interaction of thesetwo historical and literary periods, Cervantes wasable to combine a plethora of ideas with manyliterary influences of his time. Thus, with theseliterary innovations, Cervantes created a majortext, now described as a novel, which introducedground-breaking techniques in a new literary form.

El Quijote

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The context of Cervantes’s literary career isframed initially by two groundbreaking texts,Lazarillo de Tormes, a picaresque novel from 1554,and Historia del Abencerraje y de la Hermosa Jarifa(Story of the Abencerraje and the Beautiful Jarifa),a Moorish text from 1561. The picaresque novel istraditionally centered on a character of limitedresources that depends on others to subsist. Thisliterary genre uses satirical humor and moralizingtales to present the unfortunate circumstances facedby the character and how these events nurture apessimist environment. These elements are centralto Cervantes as they become the medium throughwhich Don Quixote and other characters learn andinform their points of view. Another literary formthat is central to Cervantes is the chivalricromance, which traditionally narrates a storyinvolving knights and their adventures in one ofthree major geographic zones--England, France,and Rome--. The plots of these romances wouldusually involve fights in a world of fantasy and afemale character as the reward. This influence ispresent in Don Quixote in terms of the plot lines, butalso in its language. Don Quixote speaks in anantiquated language that he has learned throughchivalry books. On the other hand, Sancho constantlyuses popular sayings, to Don Quixote’s dislike.

The Russian philosopher and scholar MikhailBakhtin (1895-1975) sees Don Quixote as a radicalshift in the production of literature. Rather thanpresenting one particular view of the world,Cervantes is credited for managing multiplecharacters with a variety of perspectives. Bakhtinalso observes that Don Quixote successfully bringstogether different ways of articulating knowledge,incorporating chivalry romances, theater, andquestions about individuals and society, among manyothers.

The research of Diana de Armas Wilson inCervantes, the Novel, and the New World studies theorigins of the novel and hypothesizes thatCervantes’s text is highly influenced by theEuropean presence in the New World and thereactions in the Americas to these differentimperialist enterprises. Wilson establishes thatCervantes was not only influenced by the historicalevents and traditions in Spain, but that his countrywas also affected by texts written in the Americas.Wilson’s ideas are vital to understanding therelationship between culture and politics, not onlyat that particular historical moment, but also, howDon Quixote is understood in the modern world.

Barbara Fuchs focuses on the negotiations inDon Quixote between issues of gender, religion,ethnicity, and national identity. In her book, Passing

for Spain, Fuchs discusses the interactions betweenChristianity and Islam in order to present that theCervantes’s Spain was not homogenous in anypolitical, social or religious terms. In terms ofreligion, the people of Spain had different systems ofbeliefs such as Catholicism, Judaism and Islamism.The country was in constant negotiations of thesereligions and Don Quixote clearly shows some of thedebate on religion. Consider, for example, howCervantes introduces the character of Cide HameteBenengeli, a Moor writer, as the actual writer of thetext. Therefore, Don Quixote is a text that deals withpart of the historical complexity of its time.

Current discussions on religious relationscan look back at Don Quijote and its creative ways ofnegotiating different perspectives and beliefs. DonQuijote also reflects on politics and the distributionof power. Consider, for example, Sancho’s effectivegovernment in the isle and the motives behind hisresignation. In its scope, Don Quixote covers manyaspects of difference between people, and thusdemonstrates a high degree of relevance incontemporary culture.

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Cervantes is credited for managing multiplecharacters with a variety of perspectives.

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There have been many film adaptation of DonQuixote. Among them, a silent film, “Les Aventuresde Don Quichotte de la Manche,” was made by Frenchdirectors Lucien Nonguet and Ferdinand Zecca in1903, showing the impact of Cervantes’sgroundbreaking text. Many other film adaptationshave followed, notably including the 1947 film,“Don Quijote de la Mancha,” by Spanish directorRafael Gil. In 1965, a Broadway musical based onDon Quixote was put on the stage under the title“Man of La Mancha.” Director Arthur Hiller made afilm version of this stage musical in 1972 with filmstars Peter O’Toole and Sophia Loren.

Orson Welles started a film version of DonQuixote in 1955, and although he never finished theproject, Spanish director Jesús “Jess” Franco puttogether some of the available footage and released itin 1992. In 2002, film directors Keith Fulton and

Louis Pepe presented the documentary “Lost in LaMancha” based on Terry Gilliam’s failed attempt tofilm “The Man Who Killed Don Quixote” during theyear 2000.

The novel has also been reinterpreted indance by choreographer George Balanchine. A balletwith music by Ludwig Minkus was made into a well-known film (1973) starring Robert Helpmann andRudolf Nureyev.

In literature, Cervantes’s influence has beencarefully studied in major texts such as GustaveFlaubert’s Madame Bovary (1857), amongst others.Jorge Luis Borges wrote a short text that comparesCervantes’s version of Don Quixote with a newmodern version by a fictional writer in his “PierreMenard, autor del Quijote” (“Pierre Menard,Author of the Quixote”).

El Quijote

VV.. EEll QQuuiijjoottee aatt RReeppeerrttoorriioo EEssppaaññooll

Cervantes’s DonQuixote was adapted forthe stage by SantiagoGarcía and directed byJorge Alí Triana. Thisstage representationfocuses on twelve of DonQuijote’s adventures withSancho Panza. It isimportant to note that astage adaptation can onlyincorporate certainaspects of a plot due to thelimitations set by time

and space. The objective of the adaptation is toenhance the reading of Don Quixote by providing avisual and collective experience related to thewritten text. Please note that the following synopsisfocuses on the theatrical representation atRepertorio Español, notably the thread of adventuresof Don Quixote and Sancho on their way to achievingtheir goals and ideals. This theatrical representationalso presents many of the characteristics that makeDon Quixote a relevant text in contemporary culture.

“Les Aventures de Don Quichotte de la Manche,” Lucien Nonguet and Ferdinand Zecca in 1903

Jorge Alí Triana - Director

VVII.. AAddaappttaattiioonn aanndd SSyynnooppssiiss

This adaptation of Don Quixote was written bySantiago García and re-titled “El Quijote” for theproduction directed by Jorge Alí Triana forRepertorio Español. The English translation of theplay was done by Heather L. McKay.

The novel introduces a character known asAlonso Quijano, who has lost his sanity due to themany chivalry books he has read. His reality hascollapsed with the fictional world in the books and herenames himself Don Quijote de la Mancha in orderto defend and protect unfortunate people. He alsorenames his dream woman, from Aldonza Lorenzo toDulcinea del Toboso, and then begins his adventuresas a new-born knight.

The stage adaptation begins after suchtransformation has taken place. Don Quixote and hissquire, Sancho Panza, encounter a boat. Don Quixoteexplains to Sancho that he believes that someone inthe boat needs his help, while Sancho points out thathe does not see anyone in peril, but instead just somefishermen. They board the boat and head towardssome waterwheels or flour mills that Don Quixoteperceives as castles. As they approach thewaterwheels on the boat, the boat gets destroyed, andthe fishermen ask Don Quixote and Sancho to pay forthe damages to the boat. It is immediately establishedthat there are discrepancies between Don Quixote andSancho’s perceptions of their surroundings. For thefirst time, the audience experiences the questioningof reality and the surrounding environment, a keyelement of the Baroque period.

Amongst their next adventures, Don Quixotetries to confront a lion in a cage, but as it turns out,the lion is very passive and does not attack him. DonQuixote then believes that he has triumphed over thelion. Immediately after, they found themselves in aplace that Don Quixote recognizes as the town ofToboso, where his dream woman, Dulcinea,supposedly lives. He sees three local women andbelieves that one of them is Dulcinea disguised as anugly woman. In response, the women attack Sanchoand Don Quixote, and leave. The introduction ofDulcinea at this moment highlights the influence ofchivalry romances in Cervantes’s work, presentinga female character that will be the reward of theknight’s hard work.

Next, a duke and duchess see Don Quixotealong with Sancho and ask them if they are theliterary characters in two novels that they havebeen reading with the same title of The IngeniousGentleman Don Quixote of La Mancha. The duchessdiscusses the two versions of the same novel, onewritten by Cervantes and the other one by someonenamed Avellaneda. Don Quixote explains that the realnovel was written by Cide Hamete Benengeli, a Moorwriter, adding to confusion between a work of

literature and characters that have come to life. Atthis moment, the text subtly makes reference to thereligious climate of the time in Spain, during majorefforts by the Catholic Church to establish its powerand presence in the country and its frequentinteraction with different religions. The charactersare then confronted by a cleric that warns the dukeand duchess of Don Quixote’s insanity. In a turn ofevents, the duke begins to take part in Don Quixote’sworld and grants Sancho the power to govern an isleof his own.

Afterwards, Don Quixote and Sancho meetMerlin, the Prince of Magic, claiming that he hasmet Dulcinea, Don Quixote’s love. Dulcinea is undera magic spell that changed her physical appearance.Merlin explains that the spell can be undone only bySancho giving himself 3,300 whiplashes, a difficulttask that he begins, but does not finish. Once again,the question of how to distinguish between realityand appearance is presented to the audience.

Don Quixote then advises Sancho on how to bea proper governor of the isle, discussing personalgrooming and the appropriate language that agovernor should use. Sancho begins to doubt whetherhe is suitable for this position and Don Quixote endsup supporting Sancho’s new position. This dialogueis crucial to the text because Don Quixote is able topresent many ideas on the foundation of a good,honest and trustworthy government. Sancho beginsto govern the isle successfully, solving many of theproblems encountered by its inhabitants. Suddenly,the isle is attacked by enemies, but the localtownspeople are able to defend the isle. Sanchoexplains that he does not want to be a governoranymore for two main reasons, because it involvestoo many responsibilities and also--with a touch ofhumor--because he has not eaten.

El Quijote

Don Quixote & Sancho with the Duke &Duchess.

Sancho and Don Quixote meet again andcontinue unto their adventures. They run into agroup of actors that perform the play “Las cortes dela muerte” [“The Parliament of Death”]. The actorsare quite furious because they are owed money bytheir director, and they take it out by spookingRocinante, Don Quixote’s horse, and by takingSancho’s donkey. They are able to rescue the donkeyby talking to the actors before they leave.

Sancho brings up the question of his salary toDon Quixote. After discussing the various amountsthat Sancho claims he is owed, Don Quixote tells himto take all the money that is left. Sancho apologizesand explains that he only wants to work with hismaster. Don Quixote suggests that Sancho should givehimself some more whiplashes as part of hisapology. Sancho uses the whip on a tree instead of hisown body and tells Don Quixote that he has completedthe 3,300 lashed required to break the spell that hasbeen cast unto Dulcinea.

Don Quixote and Sancho are encountered bythe Princess Micomicona, whose power in thekingdom of Micomicon in Ethiopia has been usurped.The Princess and here companions present a play toDon Quixote and Sancho in order to explain thehistory of her kingdom. Her father, the king, hasbeen threatened by a giant by the name ofPandofilando of the Glare and has asked to marry thePrincess. According to the king,Don Quixote is theonly one that can beat the giant and save the Princessfrom this marriage. Don Quixote suddenly believesthat the puppet used onstage to play the giant is thereal giant and proceeds to attack it. The Princesstries to calm down Don Quixote by giving him apotion. He drinks it and quickly falls asleep.

The Princess and her accompanying playersgive Don Quixote to the Curate and the Barber, whowill cage him in order to take him back to La Mancha.On the road, they meet with a procession that carriesa statue of Our Lady of Sorrows. Don Quixote sees areal woman instead of the statue, decides to save her,and then he is confronted by one of the penitents.This is the last episode in which Don Quixote will seereality in a different way. Don Quixote has indeedfailed in his adventures, but continues to face lifewith optimism and idealism, main elements of theRenaissance. After being hit on the shoulder by thepenitent, Don Quixote decides that it is better to sitin the cage and be protected from other injuries. Heis approached by some of the women in theprocession and he believes that they mourn his life.At the end, they proceed on their way to La Mancha,not surrendering to pessimism, but hoping for abetter life.

El Quijote

Sancho’s Government of the Island.

VVIIII.. SSttuuddyy QQuueessttiioonnss

11-- How does Don Quijote behave? How do othercharacters react to his behavior?

22-- What other versions of Don Quixote arementioned? What problems can arise from theconfusion of multiple versions of the novel?

33-- What advice does Don Quixote give to Sanchoabout governing the isle? How would you rateSancho’s government? Explain why.

44-- Why does Sancho decide to keep working for DonQuixote after all the inconveniences he hasendured? What does these actions tells us aboutSancho?

55-- How does Don Quixote react to the theatricalstaging of the story of the Princess?

66-- What are the differences between reality andimagination for Don Quixote?

77-- What is Sancho trying to say when he uses thefollowing sayings?

aa.. “He who sees a mote in another’s eye,can’t see a beam in his own.”

bb.. “When I go, let it be on a full belly.”cc.. “He who errs and amends, himself to

heaven commends.”

88-- Why are the Barber and the Curate looking forDon Quixote? What do these two characters seek toaccomplish?

99-- How does the play end? Why does Don Quixoteget back in the cage?

1100-- What is your favorite of Don Quixote’sadventures? Explain why.

El Quijote

Don Quixote advises Sancho on how togovern his island.

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11-- Don Quixote as a literary text in transitionbetween the Renaissance and the Baroque.

22--The processes in which Don Quijote becomes morelike Sancho while the squire begins to behave morelike his master.

33--The representation of female characters.

44--The interactions between history and literature--life and fiction--.

55--The different possibilities of authorship of thetext.

66--The presence of several literary genres in DonQuixote: chivalry novels, the picaresque, pastoraltexts.

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11.. Read the story “Pierre Menard, Author of theQuixote” by Jorge Luis Borges. Discuss the irony inMenard’s translation of Don Quixote and theimportance placed on the reader as crucial to acontemporary understanding of a literary text.

22.. Compare Don Quijote or Sancho to a Shakespeareancharacter of the same period such as Hamlet orFalstaff.

DDoonn QQuuiixxoottee oonn FFiillmm

1972. Man of La Mancha. Dir. Arthur Hiller. In English, with Peter O’Toole and Sophia Loren.

1973. Nureyev’s Don Quixote (Ballet version). With Robert Helpmann and Rudolf Nureyev.

1992. Don Quijote de Orson Welles. Dir. OrsonWelles. With new writing and editing by Jesús “Jess”Franco.

1999. Don Quixote (Animated version).

2000. Don Quixote. Dir. Peter Yates. In English, with John Lithgow and Bob Hoskins.

El Quijote

Don Quixote fighting against the “demons”.

XX.. FFuurrtthheerr RReeaaddiinngg

Anonymous. Lazarillo de Tormes and The Swindler.Trans. Michael Alpert. New York: Penguin, 2003.

Anonymous. Historia del Abencerraje y de laHermosa Jarifa. Ed. Víctor de Lama. Madrid: Castalia,2000.

Cascardi, Anthony J, ed. The Cambridge Companion toCervantes. Cambridge, UK: Cambridge University Press, 2002.

Cervantes Saavedra, Miguel de. Don Quixote. Trans.Edith Grossman. New York: Ecco, 2003.

- - - - Exemplary Stories. Trans. Lesley Lipson. Oxford: Oxford University Press, 1998.

Fuchs, Barbara. Passing for Spain: Cervantes and theFictions of Identity. Urbana and Chicago: Universityof Illinois Press, 2003.

Wilson, Diana de Armas. Cervantes, the Novel, andthe New World.Oxford: Oxford University Press, 2000.

RREEVVIIEEWWSS -- EEll QQuuiijjootteeRREEPPEERRTTOORRIIOO EESSPPAAÑÑOOLL“Cheerful… quiet dialogues of Don Quixote, playedwith requisite delusion and dignity by RicardoBarber, and his sidekick, Sancho Panza. FranciscoReyes, Raúl Durán and Ofelia Marín are standoutsin an ensemble cast that takes on multiple roleswith aplomb, and Silvia Sierra and Yanko Bakulic’schoreography at its best reaches a height of frenetic grace.”

“The cast takes on multiple roles with aplomb!”

–– TThhee NNeeww YYoorrkk TTiimmeess

“The play surprises and entertains from thestart…Emyliano Santa Cruz, as Sancho, brings lifeand joy to his character… the play is a perfectopportunity for students to go to the theatre andlearn more about one of history’s most importantmasterpieces in the world’s literature.”

–– SSuu GGuuííaa,, NNeeww JJeerrsseeyy

“Company members never falter, never miss astep…creativity is unbounded… wonderfullyoutlandish costumes…an all-round gifted cast.”

“Everything – staging, costumes, lighting, music,performances, direction, text – come together tomake this a memorable piece.”

–– BBaacckkssttaaggee

“Como todas las obras que ha dirigidoanteriormente en dicho teatro, Ali Trianaproporciona un magnífico espectáculo digno deverse.”

“La actuación de Ricardo Barber en su personajedel Quijote marca nuevamente sus dotes deextraordinario actor, con una labor en escenamagistralmente actuada. También debemos destacara Emyliano Santa Cruz que nos presentó a un SanchoPanza en forma excelente. En general todo el elencosupo sacar partido de cada personaje que le tocóinterpretar destacándose en cada uno de ellos ydebemos mencionar muy especialmente la actuaciónde Puy Navarro y Ofelia Marín, ambas en roles muynotorios. Una obra que merece ser vista por todos”

––LLaa VVoozz HHiissppaannaa

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lluussttyy,, ddee ll ii cc iioouuss vveerrss iioonn –– aa vveerr ii ttaabb lleetthh rreeee rr ii nngg cc ii rr ccuuss .. ””

––BBaacckkssttaaggee