banderillero


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ban·de·ril·le·ro

 (băn′də-rē-âr′ō, -rēl-yâr′ō)
n. pl. ban·de·ril·le·ros
The member of a matador's cuadrilla who is responsible for placing the banderillas during a bullfight.

[Spanish, from banderilla, banderilla; see banderilla.]

banderillero

(ˌbændəriːˈɛərəʊ; -riːˈljɛərəʊ)
n, pl -ros
(Bullfighting) a bullfighter's assistant who sticks banderillas into the bull

ban•de•ril•le•ro

(ˌbæn də riˈɛər oʊ, -rilˈyɛər-)

n., pl. -ros.
a matador's assistant who sticks the banderillas into the bull.
[1790–1800; < Sp]
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.banderillero - the bullfighter who implants decorated darts (banderillas) into the neck or shoulders of the bull during a bull fightbanderillero - the bullfighter who implants decorated darts (banderillas) into the neck or shoulders of the bull during a bull fight
bullfighter, toreador - someone who fights bulls
References in periodicals archive ?
In the face of the danger represented by the bull, he is the only figure who is seeking to deflect its attention--much as a bullfighter might in response to an injured banderillero.
El banderillero Frijoles", La marquesa de Bellaflor II 115)--or turns of phrase such as "sopas de ajo en mi casa mejor que pichones en la ajena" ("La zapatera," Fe, esperanza y caridad I 24).
The fairly minor role of Oswald was played by the weaselly Ashley Rolfe, whose encounter with the grizzled and irate Kent (Paul Copley) was a comical mixture of pantomime bravado and desperate panic as the Earl pursued him and forced him to duck behind the screens like a banderillero fleeing an enraged bull.
She got her thirst for bullfighting from her father, a former banderillero whose job was to fire stun darts into the animal's shoulders before the kill.
Serving as a banderillero for Belmonte, Maera one day asked for an increase in wages and was refused.
depicts the back of a huge bull straining to reach a banderillero who is leaping over the barrera to safety; the bull's left horn grazes the banderillero's buttocks.
Elsewhere too, Bredendick amplifies the oblique subtleties inherent in choices that compel the reader "to see Death in the Afternoon as a work of art with a bullfight manual imbedded in it" (210) The dust jacket, for example, an ebullient, mass-cultural oil painting of a bull chasing a banderillero over a barrera, combines with the frontispiece, Juan Gris's cubist masterwork, The Bullfighter, a complex "intellectual" work, to highlight Hemingway's faith that "the bullfight encompasses mass culture; and fine art; and its audience includes highbrow and lowbrow alike" (217).
The chapter focuses on the bull's entrance into the arena, when a banderillero trails a cape from side to side to determine which horn the bull favors.
We have a bull returned to the corrals alive (Vibora), a bull loose in City Hall (Zaragoza), another shot and wounded by a civil-guard (Comisario), one pitted against a tiger (Huron), and a rampaging bull who took on and tossed, one after another, a banderillero, a picador, a civil-guard, a municipal policeman, and a night watchman (Oficial).
An excellent banderillero and cape handler, he worked with the outstanding matadors of his time.