Spanish Golden Age Comedy: A Fusion of Dramatic Elements
Comedy Training in the Spanish Golden Age
The Birth of a National Comedy
In the vibrant theater of the Spanish Golden Age, a unique form of comedy emerged. This genre, encompassing both comedic and dramatic plays performed in corrales (open-air theaters), wasn’t merely a form of entertainment; it was a reflection of the nation’s identity.
The Tragicomedy: A Lope de Vega Innovation
The tragicomedy, a blend of tragic and comic elements, was solidified by Lope de Vega in the late sixteenth century. Lope de Vega’s genius lay in his ability to synthesize existing theatrical elements into a new, dynamic form. He incorporated poetry, complex plots, and interspersed comic scenes, often drawing inspiration from ballads. This innovative approach became the definitive model for dozens of playwrights throughout the century.
Lope de Vega’s primary rule was to cater to the tastes of his audience, prioritizing their enjoyment above all else.
Structure of the Golden Age Play
Rejecting classical precepts and embracing a more natural style, Golden Age plays possessed distinct structural features:
- Three Acts: Plays were divided into three “days” or acts, with a focus on maintaining suspense.
- Lively and Varied Action: Featuring at least two parallel storylines—one involving high-ranking characters and the other focusing on servants and commoners—the action was dynamic and interconnected.
- Flexible Time and Place: Unlike classical drama, these plays could span years and multiple locations.
- Tragic and Comic Blend: The fusion of tragic and comic elements reflected a naturalistic approach.
- Variety of Style: Poetic decorum dictated that language and behavior should match each character’s social standing.
- Diverse Verse Forms: A variety of verse forms were used, adapting the meter to the nature of each scene.
- Lyrical Elements: Songs, often of traditional origin and sometimes accompanied by dances, were interspersed throughout the plays, adding another layer of enjoyment and occasionally integrating seamlessly with the plot.
Characters and Social Dynamics
Golden Age comedies featured recurring character types:
- Elevated Plane: An old man, a gallant, and a lady.
- Lower Plane: A servant girl (criada), often replaced by a friend of the protagonist, and a gracioso (a witty servant).
- The Gallant and the Gracioso: The gallant, typically a nobleman or high-ranking soldier, was often accompanied by his trusty servant, the gracioso.
- The Lady and the Maid: These characters represented the female perspective within the play’s social hierarchy.
This double level, with two distinct social worlds interacting, was a defining characteristic of the genre.
Social Role of Theater
Rather than mirroring society directly, Golden Age comedy idealized reality, reflecting the ideology of the dominant sectors. It served two primary functions:
An Art of Evasion
The theater provided an escape from daily hardships, offering audiences a much-needed distraction.
Exaltation of “National” Values
While entertaining, the plays also reinforced traditional values, promoting religious, monarchist, and aristocratic ideals. Religious themes were prevalent, aligning with the prevailing political climate. Monarchist ideals were emphasized through the portrayal of the king as the embodiment of the nation. Socially, the plays upheld the rigid hierarchy of the time, glorifying the nobility and their values. Honor and purity of blood were recurring themes, often intertwined with the idealized image of the wealthy, honorable farmer of pure lineage.
A “Popular” Theater?
Despite its popularity, Golden Age comedy served the interests of the elite, reinforcing the established social order.
Literary and Theatrical Value
Golden Age comedy represents a high point in theatrical arts, showcasing emotional depth and dramatic tension, particularly in its serious works.
Key Authors
- Lope de Vega
- Guillén de Castro (Las Mocedades del Cid)
- Tirso de Molina (The Trickster of Seville, The Diffident Convicted)
- Juan Ruiz de Alarcón (The Truth Suspected)
- Mira de Amescua (The Slave of the Devil)
- Vélez de Guevara (La sierra de la Vera)
- Calderón de la Barca
- Francisco de Rojas Zorrilla (Del Rey abajo, ninguno)
- Agustín Moreto (El desdén con el desdén)
Themes and Subgenres
- Religious Themes: Plays inspired by biblical episodes and the lives of saints.
- Historical Themes: Plays based on historical events.
- Comedies of Manners: The most abundant subgenre, including “swashbuckling” urban comedies centered on love intrigues and idealized depictions of courtly life, as well as rural comedies idealizing peasant life.
- Honor Plays: Plays exploring the theme of honor, a central preoccupation in 17th-century Spain, often involving revenge for perceived insults or infidelity.