Medieval and Renaissance Theater in Spain
Medieval Drama
Characteristics
- Performed in temples, streets, and squares.
- Religious theater was prevalent during Christmas and Easter.
- Originated from liturgical chants and tropes.
- Emergence of secular theater with performances like momos and snacks.
Manifestations
- Auto de los Reyes Magos
- Fiestas de Epifanía
- Misterios
Renaissance Theater
Performed in churches, squares, halls, universities, and later in the late sixteenth century, in corrales de comedias.
Principal Tendencies
- Religious drama
- Italianate classicism
- Nationalism
- Popular theater
Theater of Cervantes
- 1st Period: Renaissance influences
- 2nd Period: Followed models of entremeses and comedies. This period was not as successful.
Baroque Theater
Dramatic manifestations revolved around three principles: comedies, dramas, and courtly mystery plays.
Manifestations
Corrales de Comedias
Structure
Consisted of courtyards, side buildings with barred windows, apartments, lofts, an entrance stage, an alojera (refreshment stand), a balcony, rooms, a discussion area, tables, and a wardrobe.
Representation
- Performances began with a loa (prologue) and a musical piece.
- The first act was a farce.
- The second act featured a dance or jácara.
- The third act was a masquerade.
Courtly Theater
- Developed in the royal court.
- Characterized by its spectacular nature, thanks to Italian set designers who began working in Spain.
- Performances took place in palaces and outdoors.
Autos Sacramentales
- Centered around the sacrament of the Eucharist, with symbolic use of allegory.
- Known for their grand spectacle and scenic developments.
- Structured as a single act, linking the play with the religious theme of the Eucharist.
- Combined allegorical expression with sumptuous scenery.
- Served a didactic and religious purpose.
Types of Dramas
Lengthy Works
- Serious: Tragedies, tragicomedies, autos sacramentales
- Comic: Cape and sword comedies, comedies of intrigue
Short Plays
- Entreméses
- Loas
- Dances
- Ballads
- Masquerades
- Mojigangas (puppet shows)
National Comedy
Features
- Mix of tragic and comic elements
- Did not adhere to the unities of time and place, but emphasized the unity of action
- Three-act structure
- Emphasis on decorum and verisimilitude
- Appropriate language
- Varied thematic focus
Characters
- The Lady
- The Gallant
- The Powerful Figure
- The Old Man
- The Funny Character
- The Servant
Ideology and Purpose
- Relevance of the king and the peasant
- Upholding social order
- Public entertainment and escapism
Leading Playwrights
Lope de Vega
- Considered the creator of the national comedy
- Blended cultured and popular elements in his dramatic works
- Notable works: Fuenteovejuna, The Knight from Olmedo, Peribáñez and the Comendador of Ocaña
Tirso de Molina
- Cultivator of the new comedy, incorporating elements of intellectual and psychological depth
- Female characters held significant importance in his works
- Notable works: Don Gil of the Green Breeches, The Trickster of Seville
- Credited with developing the myth of Don Juan Tenorio
- Structure: The play The Delusions of Don Juan Tenorio focuses on four women and explores themes of double standards and punishment
Pedro Calderón de la Barca
- 1st Stage: Wrote for the corrales
- 2nd Stage: Focused on courtly theater and morality plays
- His plays are characterized by their intellectual depth and complexity
- Notable works: Life is a Dream, The Mayor of Zalamea
Baroque Literature
Baroque literature continued the creative principles of the Renaissance while incorporating innovations related to historical ideology. Three distinct phases can be identified:
- 1580-1610: A transitional stage marked by renewal.
- Early 17th Century: The peak of the Baroque period, witnessing the creation of its greatest works.
- Late 17th Century: Dominated by imitation, marking the decline of the Baroque, with the exception of Calderón de la Barca, who continued to produce his best dramas after 1650.
The Golden Age Theatrical Spectacle
Theatrical performances flourished in cities with populations exceeding 130,000. Theater was a major form of entertainment, attracting people from all walks of life, including nobility and commoners. Each social class occupied a designated space according to their rank. Performances typically took place in the afternoon in corrales de comedias (open-air spaces) or patios (courtyards within houses). Wealthy merchants sat in the lunetas (front rows), while women occupied the cazuela (a designated section). Men without assigned seats stood in the courtyard, often referred to as mosqueteros (musketeers) due to their tendency to create a commotion, applauding enthusiastically or throwing tomatoes and other objects at the actors. The stage in these venues was simple, devoid of elaborate decorations. Scene changes were done in full view of the audience, relying on the actors’ words, gestures, and minimal props to convey the setting. In contrast, courtly theater, performed in palaces, featured lavish decorations and elaborate set designs. The open-air structure of the corrales allowed for quick scene changes, catering to the audience’s desire for fast-paced entertainment. The success of a play depended heavily on audience reception, with playwrights often tailoring their works to please the public. Impresarios (theater managers) played a crucial role in the financial success of a play, purchasing scripts from writers and managing the productions.