17th Century Spanish Drama

Posted on Sep 23, 2024 in Latin

The Seventeenth-Century Spanish Drama

The seventeenth century is considered the Golden Age of Spanish theater due to the significance of its authors, the quality of their work, and their social impact.

1. Lope de Vega and the New Comedy

The most important author of this period is Lope de Vega. His new style of play helped define the characteristics of Spanish comedy during this century.

1.1. Characteristics of the New Comedy

  • Rejection of Classical Rules: It did not adhere to the three unities of time, place, and action found in classical theater.
  • Three-Act Structure: The plays were divided into three acts (exposition, rising action, and resolution).
  • Blending of Genres: Comic and tragic elements were combined within a single play.
  • Verse Form: The plays were written in verse.
  • Use of Polymetry: Different verse forms were used within a play.
  • Poetic Decorum: Language was adapted to suit each character.
  • Inclusion of Popular Elements: Dances and folk songs were incorporated into the plays.

1.2. Themes and Issues

The plots tended to be complex and explored a variety of themes, including:

  • Popular and national themes.
  • Love and jealousy.
  • Religion.
  • Honor: In the seventeenth century, honor referred to the good opinion others had of a person. It was primarily associated with the nobility, but Golden Age drama often presented conflicts involving ordinary people and honor, particularly concerning marital fidelity.

1.3. Social Value of Baroque Theater

Seventeenth-century theater was a spectacle that served to entertain and teach a model of behavior. It often emphasized:

  • Support for the monarchy.
  • The social status of its characters.
  • Defense of Catholicism.

1.4. Character Types

Lope established a pattern of characters that appeared in most of his works:

  • The King: Represents authority.
  • The Noble Knight: Rich and powerful, but often abuses his power.
  • The Gallant Lover: Young, noble, handsome, courageous, and generous.
  • The Lady: Beautiful and of noble lineage.
  • The Father/Old Man: Protects the honor and avenges the dishonor of his daughter, wife, or sister.
  • The Villain: Often a dishonest and powerful figure.
  • The Gracioso (Funny Man): Essential to Baroque comedy. A materialistic and talkative servant from a lower social class. Uncivilized, fond of eating and drinking, cowardly, and a bully, but loyal to his master. May be involved in a romantic subplot with the lady’s maid.

1.5. Corrales de Comedias (Theaters)

Seventeenth-century plays were performed in corrales de comedias. The old corrales were set up in courtyards. The audience stood on balconies and windows (boxes). The top floor windows were called aposentos, and the lower ones, cazuelas. Below, there were seats in a semicircle called gradas. In front of these was the patio, sometimes covered with an awning. The area called the alojería on the first floor was for women. There were also standing areas, including the mosqueteros.

1.6. Lope de Vega’s Works

Lope de Vega wrote poetry and prose, but it was his theater that established him as one of the most important authors of Spanish and world literature. He is considered the creator of the national theater of the seventeenth century. He wrote around 1,800 plays, of which we know a little over 400 today.

1.6.1. Examples of Lope de Vega’s Plays
  • Plays of Spanish History and Legend: Fuenteovejuna, The Knight from Olmedo, Peribáñez and the Commander of Ocana, The Best Mayor, the King.
  • Comedies of Foreign Affairs: The Grand Duke of Muscovy, Punishment Without Revenge.
  • Comedies of Intrigue and Cloak and Dagger: The Dog in the Manger, La dama boba, The Discreet Love, The Affectations of Belisa, The Villain in His Corner.
1.6.2. Features of Lope’s Theater
  • Themes and Topics: Love, honor, religious, and monarchical ideals. Defense of the crown and aristocratic society.
  • Dramatic Action: Breaks the rule of the three unities (action, place, and time) and divides the work into three acts.
  • Language and Versification: Uses polymetry, employing different verse forms to reflect changes in scenes, themes, etc. His language is usually popular but can sometimes be more elaborate.

2. Calderón de la Barca

Calderón de la Barca produced over 100 works.

2.1. Types of Plays

  • Spanish History and Legend: The Mayor of Zalamea.
  • Intrigue and Cloak and Dagger: House with Two Doors, Bad to Keep, Poor to Keep, La dama duende.
  • Philosophical: Life is a Dream.
  • Honor and Jealousy: A Secret Grievance, Secret Revenge, The Physician of His Own Honor.
  • Mythological and Religious: Andromeda and Perseus, Absalom’s Hair.
  • Autos Sacramentales (Philosophical and Theological): The Great Theater of the World.
  • Mythological Autos: The Sorceries of Sin.
  • Autos Based on the Old Testament: Belshazzar’s Feast.
  • Autos Based on the New Testament: Love Thy Neighbor as Thyself.
  • Historical and Legendary Autos: The Devotion of the Mass.

2.2. Autos Sacramentales (Religious Plays)

Calderón wrote more than sixty autos sacramentales, approaching them as a poet and playwright, not as a theologian. In autos, Calderón achieved the fullness of his dramatic symbolism.

2.3. Features of Calderón’s Comedies

  • Construction: More thoughtful, profound, and polished construction.
  • Intellectual Focus: Ideas dominate over facts and dramatic action.
  • Language and Versification: More elaborate and baroque than Lope’s, with rich and expressive verse.
  • Characters: Calderón’s characters are very strong and complex.

2.4. Value of Calderón’s Theater

Calderón’s works possess extraordinary dramatic power and a profound moral sense. The predominant feelings are religious and concern royal honor.

3. Tirso de Molina

Tirso de Molina was primarily a playwright but also wrote prose (e.g., The Cigarrales of Toledo).

3.1. Plays

  • Minor Works: Prudence in Women, Don Gil of the Green Breeches, Marta the Pious.
  • Major Works: The Suspicious Husband, The Trickster of Seville.

The themes of his two major works are salvation and divine grace. The Suspicious Husband exemplifies the idea that without faith there is no salvation, while The Trickster of Seville shows that faith is useless without good works.