Spanish Theater: From Medieval Times to the Baroque Era
Medieval Drama
Characteristics
- Performed in temples, streets, and squares.
- Religious theater was performed by civilians, primarily during Christmas and Easter.
- Originated from liturgical chants and tropes.
- Emergence of secular theater with genres like momos and snacks.
Manifestations
- Auto de los Reyes Magos
- Fiestas de Epifanía
- Misterios
Renaissance Theater
Performed in churches, squares, halls, universities, and by the late 16th century, in corrales de comedias.
Principal Tendencies
- Religious drama
- Italianate classicism
- Nationalism
- Popular theater
Theater of Cervantes
- 1st Period: Renaissance influences
- 2nd Period: Followed models like entremeses. His comedies and dramas were not as successful.
Baroque Theater
Dramatic manifestations revolved around three principles: representations of comedy, drama, and courtly mystery plays.
Manifestations
Corrales de Comedias
Structure
- Courtyards with surrounding buildings
- Windows with bars, apartments, and lofts
- Stage with an entrance and area for the Alojera (ticket seller)
- Balcony, rooms for discussions, tables, and a wardrobe
Representation
- Started with a loa (prologue) and introductory music
- First act: Farce
- Second act: Dance or Jácara (musical interlude)
- Third act: Masquerade
Courtly Theater
- Developed in the royal court
- Characterized by its spectacular nature, influenced by Italian set designers who began working in Spain
- Performances held in palaces and outdoor settings
Carros Sacramentales
- Focused on the sacrament of the Eucharist, using symbolism and allegory
- Featured grand and spectacular scenic developments
- Single-act structure connected to the religious feast and the Eucharist
- Combined allegorical expression with sumptuous staging
- Served a didactic and religious purpose
Types of Dramas
Lengthy Works
- Serious: Tragedies, tragicomedies, carros sacramentales
- Comic: Cape and sword comedies, comedies of intrigue
Short Plays
- Entremeses
- Loas
- Dances
- Ballads
- Masquerades
- Mojigangas (burlesque plays)
National Comedy
Features
- Mix of tragic and comic elements
- Did not strictly adhere to the unities of time and place, but emphasized unity of action
- Three-day rule, decorum, and verisimilitude
- Appropriate language
- Varied themes
Characters
- Lady
- Gallant
- Powerful figure
- Old man
- Funny character
- Servant
Ideology and Purpose
- Relevance of the king, peasant, and guardian of order
- Evasion of public issues
Leading Playwrights
Lope de Vega
- Considered the creator of national comedy
- Blended cultured and popular elements in his dramatic works
- Notable works: Fuenteovejuna, The Knight from Olmedo, Peribáñez and the Comendador of Ocaña
Tirso de Molina
- Cultivated a new form of comedy, incorporating intellectual elements and psychological depth
- Female characters held significant importance in his works
- Notable works: Don Gil of the Green Breeches, The Trickster of Seville
- Developed the myth of Don Juan Tenorio
- Structure: The Delusions of Don Juan Tenorio (4 women) and episodes exploring the themes of imitation and punishment
Calderón de la Barca
- 1st Stage: Wrote for corrales de comedias
- 2nd Stage: Focused on courtly theater and morality plays
- His plays exhibited a high intellectual tone and complexity
- Notable works: Life is a Dream, The Mayor of Zalamea
Baroque Literature
Continued the creative principles of the Renaissance while incorporating profound innovations related to historical ideology. Literary production in this period can be divided into three phases:
- Between 1580 and 1610: Considered a transitional stage and a period of renewal
- Early 17th Century: Marked the peak of the Baroque period, witnessing the creation of its greatest works
- Second Half of the 17th Century: Dominated by imitation, with a decline in originality except for Calderón de la Barca, who produced his best dramas after 1650
The Theatrical Spectacle of the Golden Age
- Theatrical performances flourished in cities with over 130,000 inhabitants.
- Theater was a major form of entertainment, attracting men, women, nobility, and commoners.
- Seating arrangements reflected social hierarchy, with the most prominent positions reserved for the highest ranks.
- Performances took place in the afternoon, primarily in corrales de comedias (open-air spaces) or patios within houses.
- Wealthy merchants sat in the lunetas (front rows), while women occupied the cazuela (a designated area).
- Men without assigned seats stood in the courtyard, watching the play from afar. These”mosketer” were known for their boisterous reactions, applauding enthusiastically or pelting actors with tomatoes and other objects if displeased.
- Corrales de comedias had simple decorations, lacking the lavishness of courtly theater.
- Scene changes occurred in full view of the audience, relying on dialogue, gestures, and minimal props to convey shifts in location.
- Courtly theater, performed in palaces, featured elaborate sets and costumes.
- The success of a play depended on audience reception, with playwrights aiming for a satisfying and entertaining experience.
- Theater entrepreneurs played a crucial role, commissioning works from writers and striving to secure the best plays for their audiences.