The History and Evolution of Peninsular Theater
The Origins of Peninsular Theater
The Medieval Theater
Castilian dramatic text is the oldest surviving Order of the Magi, dating back to the middle of the 12th century.
It contains monologues of the three kings meeting, their visit to Herod, the king’s monologue, and a discussion among the sages of the court.
Renaissance Theater
Religious Drama
The use of allegory becomes relevant, influencing the auto sacramental of Baroque theater.
Italianate Theater
In this dramatic orientation, Eclogues stand out.
Classical Theater
Models of comedy and tragedy were imitated. These plays circulated in intellectual circles of colleges and universities for educational purposes.
National Theater
National history was used as a prominent theme.
Popular Theater
Short pieces, using intrigue, comic entanglements, and other resources, provided theatrical entertainment.
In the last quarter of the sixteenth century, specific areas began to be used: the comedy theaters.
The Theater in the Seventeenth Century
Representations included comedies, courtly drama, religious drama, and mystery plays.
Comedies
Baroque performances were initially held in yards and courtyards. A block of houses would form one side, with the stage positioned opposite.
The Courtly Theater
Parallel to the rise of the comedies, the courtly theater developed, characterized by its magnificence.
Performances were held in the palace and outdoors. Dramatic changes of scenery were achieved using mounts, sets in perspective, aerial effects, and mechanical devices.
The Mystery Plays
The seventeenth-century mystery plays primarily revolved around the sacrament of the Eucharist.
They perfected the symbolic use of allegory and featured elaborate scenery.
Features of the Mystery Plays:
- A single-act structure.
- Didactic and religious exaltation of faith.
- Connection to the festival of Corpus Christi and the Eucharistic theme.
- Allegorical expression and sumptuous scenery.
They were represented in church precincts, on the streets, and on mobile platforms.
Music was an essential component, intended to engage the senses and enhance the audience’s experience.
The Domestic Comedy
In the seventeenth century, the national comedy and the new sitcom were consolidated, marking a milestone in the history of Peninsular theater.
The domestic comedy was created by Lope de Vega and further developed by other playwrights, including Calderón de la Barca.
Characteristics of Baroque Comedies
Mixture of Tragedy and Comedy
The mixture of tragedy and comedy is justified as both elements are present in life.
Dramatic Unities
To maintain credibility, Baroque playwrights did not adhere to the unities of time or place. They used scene changes and time jumps as required by the plot. The unity of action was generally respected, allowing for two or three actions if they led to the same outcome.
Division of Drama
Plays were divided into three acts or days: the exposition covered the beginning of the first act, the rising action the rest of the first act and all of the second, and the resolution the final acts of the third. Within each act, there were different scenes, each representing a continuous action in a specific space and time. Scenes were defined by changes in meter.
Decorum, Language, and Polymetry
Dramatic decorum refers to the appropriateness of behavior and language of the characters to the conventions of their social roles.
Lope de Vega demanded a pure and chaste language that would fit the situation and character, such as the love language of lovers or the humorous language of the servant. He recommended polymetry, the use of a variety of meters and stanzas.
Themes and Characters
Lope de Vega mentioned two main themes for his plays: honor and virtuous actions. However, he addressed many more, including history, mythology, romance, urban and rural life, and the Bible.
He identified six main character types:
- Lady: Beautiful, faithful, and of noble lineage. In some plays, she is also capable of plotting and deception.
- Galán: Handsome and noble, generous and loyal. In other works, he is the hero.
- Powerful: The king, noble, or prince. If young, he shares physical features with the galán but is also violent, arrogant, and abuses his power. If elderly, he is characterized by prudence. If he is the king, his mission is to provide justice.
- Viejo: This character, wise, brave, and defending honor, is almost always the father of the lady. Sometimes, the role of defending honor is played by the brothers of the lady, who may also be lovers.
- Gracioso: A figure who makes the audience laugh and laughs himself, he is the counterpart of the galán.
- Maid: The gracioso’s counterpart, sometimes exhibiting similar traits.