Humanism and Theater in the Royal Chancellery (14th-18th Centuries)
Humanism in the Royal Chancellery
The Rise of the Bourgeoisie
The 14th, 15th, and part of the 16th centuries witnessed a shift from feudalism to a new bourgeois social order. This new social class, the bourgeoisie, emerged within cities, driven by commercial activity. These changes were not only socioeconomic but also ideological. The bourgeoisie championed new values, emphasizing social mobility and personal enrichment through intelligence, wit, and individual talent rather than lineage and traditional virtues.
The Royal Chancellery as a Cultural Hub
Cultural activity shifted from noble courts to major commercial centers like Barcelona and Valencia, and particularly around the King and the Royal Chancellery. During the 15th and 16th centuries, Valencia became a prominent cultural center and a stage for some of the brightest periods of Catalan literature.
Duties of the Royal Chancellery
The Royal Chancellery was the governing body of the Kings of the Crown of Aragon. Its functions were diverse and complex, including diplomatic relations with other countries, ruling all territories under Catalan law, managing taxation, handling secret reports, founding monasteries and civil institutions, and fostering cultural activities. The long reign of Peter of Aragon aimed to solidify the Chancellery as a true governing body.
Influence of Humanism
A key manifestation of the new humanistic mentality was the translation of Latin classics and important modern authors like Dante, Petrarch, and Boccaccio. Notable figures associated with this movement include Francisco Alegre, Antonio Canales, Fernando Valenti, and Bernard Ferrer Sayol, all linked to the Royal Chancellery.
The Prose of the Chancellery
The officials of the Chancellery were skilled in Latin, Aragonese, and Catalan, demonstrating a high level of rhetorical proficiency. They adapted Latin language resources to Catalan, particularly through translation. Discussions about the role, methods, and styles of translation flourished among authors of this period. These translations were crucial for a public interested in ancient texts but unable to understand Latin.
16th and 18th Century Popular Theater
Early Manifestations
Early theatrical manifestations in the medieval period were characterized by their emphasis on spectacle over the literary element. These performances served an educational and entertainment purpose, and were also effective propaganda tools.
Religious Theater
The Church used dramatic forms to convey religious ideas and make liturgical texts more accessible to the faithful. Religious drama originated with performances like the Song of the Sibyl. Gradually, these performances separated from religious services, moving out of churches and adapting to popular tastes. Latin was replaced by Catalan. Mysteries, religious plays dramatizing biblical episodes, emerged in the late 13th century. Cycles of plays developed around themes like Christmas and the life of the Virgin Mary. The Mystery of Elche, a 15th or 16th-century work, is a representative example. Hagiographic plays depicted the lives of saints and martyrs, while biblical series dramatized parts of the Old Testament.
Secular Theater
Secular theater originated in courtly and popular celebrations and festivals. Minstrels entertained with songs, gestures, and scenic resources. Short comedic plays called farces were performed during weddings. These farces, documented from the 14th century, treated familiar topics with humor, satire, and burlesque. These short plays, also known as comic sketches, were popular in the 18th century, often featuring amorous intrigues and archetypal characters. They were typically performed between acts or at the end of longer plays. Other forms of drama included momos and masquerades, which relied on pantomime and dance. These performances, popular from the 15th century during Carnival and other festivals, often incorporated music and could be historical or comical. Masquerades were widespread in the 16th century.