Spanish Theater of the 17th Century: A Golden Age
The Spanish Theater in the 17th Century
Dramatic Manifestations
Three fundamental representations should be considered:
- Comedy Theaters (Corrales):
- Courtly Theater:
- Religious Drama (Autos Sacramentales):
Corrales
Performances were held in corrales, initially in courtyards. The stage building had multiple levels, including the entrance, dressing rooms, a balcony, and the main stage area.
Courtly Theater
Alongside the corrales, courtly theater developed, known for its spectacle. Performances were held in palaces and other grand settings. The extravagance of the staging often contrasted with the declining imperial, military, and economic situation.
Autos Sacramentales
These plays revolved around the sacrament of the Eucharist. They perfected the symbolic use of allegory and featured elaborate scenery. Characteristics include:
- Single-act structure
- Didactic and religious purpose
- Connection to the festival of Corpus Christi and the Eucharistic theme
- Allegorical expression and sumptuous scenery
- Staged in the streets on mobile platforms
- Essential role of music
- Church funding
The Domestic Comedy
Created by Lope de Vega and developed by other playwrights, including Calderon de la Barca.
Features:
- Mixing of tragedy and comedy
- Realistic portrayal of everyday life
- Lope’s aim to create a work representative of Spain for the people
- Emphasis on agility, music, and dynamism
- Breaking with classical traditions
- Use of scene changes and flexible timeframes
- Pure and chaste language
- Polymetry (use of a variety of meters and stanzas)
Topics:
- Honor and virtuous actions
Characters:
- Defined by gender and social role rather than personality (e.g., lady, gallant, king, nobleman, old man, maid)
The National Comedy:
- Presents contemporary social conflicts
- Frequent portrayal of conflicts of honor
- Exalts the absolute monarchy
- Provides an escape from everyday reality for viewers
Drama Types
Two main types: serious and comic.
Long Works:
- Followed a specific order: Loa (introduction), first act, Entremés (interlude), second act, dance or Jácara (musical interlude), third act, and Mojiganga (farcical dance).
- Lasted 2-3 hours.
- Incorporated various elements to capture the audience’s attention.
Short Works:
- Short dramatic pieces interspersed within longer works.
- Entremés: Humorous one-act plays.
- Loas: Introductions to the main play.
- Dances: Intermediate representations.
- Jácaras: Sung romances.
- Mojigangas: Dances with exaggerated and ridiculous movements.
- Follas: A mix of short comic structures.
Language and Metrics:
- Lope advocated for pure and chaste language with decorum (appropriate behavior and language).
- Polymetry was used to suit the situation and character.
Themes:
- Honor and virtuous actions.
Characters:
- Defined by gender and social role (e.g., lady, gallant, powerful figure, old person, comical servant).
The National Comedy:
- Presented contemporary social conflicts.
- Often depicted conflicts of honor.
- Exalted the absolute monarchy.
- Offered viewers an escape from reality.
Lope de Vega
- Created the national comedy.
- Prolific writer.
- Humble origins and scandalous life prevented him from becoming a court playwright.
Fuenteovejuna:
- Focuses on the collective character of the people who rebel against injustice and tyranny.
- Double action: defense against the tyrannical Commander and confrontation between the abusive Commander and the people of Fuenteovejuna.
- Men are led by a woman to take action.
The Knight of Olmedo:
- Tragic drama based on a true story.
- Employs premonition and foreshadowing of a fatal outcome.
La dama boba:
- Swashbuckling comedy set in an urban environment.
- Abundance of comic devices.