Golden Age Spanish Theater: Lope de Vega, Tirso de Molina, and Calderón

Posted on Apr 13, 2025 in Arts and Humanities

Baroque Comedy Features

  • The term is synonymous with comedy play.
  • In the creation of comedy, Lope is based on the principle of artistic freedom, refuses to submit to the rules of classical theater, and rejects the three dramatic unities.
  • The facts could be spent in time and space differently. Action can occur with a primary and secondary principal.
  • Comedy is divided into 3 acts or days: the 1st sets out the situation, the 2nd entanglement is produced, and the 3rd the outcome. The change in the course of events may last several hours, days, or years.
  • Arguments are varied, and any anecdote dramatizes any source.
  • Most houses have conflicts that deal with two themes:
    • Love: It is the main trigger of conflict. It is sometimes treated as an uncontrollable passion and sometimes as a noble sentiment.
    • Honor: It is a personal characteristic, suggesting which individuals are virtuous and of clean blood. Honor consists of the opinion that others have on an individual basis. These topics were chosen by the public.
  • The image of society: the theater processes an image linked to a harmonious celestial order.
  • The type of characters are theatrical, reflecting general human characters. The most frequent are:
    • “The gallant and the lady” who occupy the center of the plot, which usually deals with marriage, are noble and virtuous, and are idealized.
    • “The servant/a”: are gallant and faithful servants of the queen, and the servant provides the comic element.
    • “The father”: after the king, is the greatest figure of respectability and authority and will be responsible for avenging affronts received.
    • “The king” acts as the supreme judge who resolves all conflicts.
    • “Rich-peasant or farmer”: represents a wealthy social class, to maintain backward and rightful honor from abuse notaries.
    • Other characters: students, soldiers, farmers, artisans.
  • The literary form of theater is verse. In comedy, there is a wide variety of lines and stanzas. The use of one or another is usually by the general terms situations.
  • Poetic decorum is maintained, i.e., the match between each character and his manner of speaking.

The Theatrical Show (17th Century)

Works were represented in the corrales, which were neighborly inner courtyards. The stage was very simple. It had not decorated with time were more performances Creadon complejasl the distribution of the scene responded to the social condition.

Structure of the Show:

  • An actor reciting a prologue in verse to capture public attention.
  • The 1st act is represented. At the end, a brief and humorous appetizer served as an interim.
  • The 2nd act is represented. As a rest, another interlude was staged.
  • The 3rd act is represented. As a final party, a dance in which the whole company participated closed the show.

Tirso de Molina

Pseudonym of Gabriel Tellez, is the most important after Lope and the 3rd playwright Calderón. Tirso continues around Lope. He delves deeper into the psychology of the characters, especially female ones.

Work: The Trickster of Seville and the Stone Guest, in creating the myth of Don Juan Tenorio.

Lope de Vega

The most famous for his work as a playwright. It is difficult to determine the number of works he wrote, but about 500 are preserved, and doubts are attributed to about 300 titles. The fundamental ideas of his theater, which allowed him to connect to the public, were simple ideas, the same that the public shared. Lope’s simplicity prevails in the approach of conflict and development through strong doses of action and intrigue. Ideological or psychological complexities are not the main object of his theater. The introduction of local customs and aspects of popular lyrical elements gives many of his works a popular and unique poetic atmosphere.

Works: El caballero de Olmedo and Peribáñez and the Commander of Ocaña.

Calderón de la Barca

  • With Calderón, Lope’s theatrical formula undergoes a transformation and is renewed. The constructive schema of comedies continues, but the themes and characters have a more profound meaning. His plays take on a philosophical tone and a denser atmosphere.
  • Focuses more on action and the main protagonists.
  • The characters no longer acquire archetypes but individual traits through a psychological analysis of great profundity.
  • Stresses the theatrical importance granted to elements.
  • His style moves away from the simplicity of Lope. Culterano language, conceptual and expressive complications, and image richness cause greater difficulty in understanding his plays.

Works: The Mayor of Zalamea and Life is a Dream.