Spanish Theater: Medieval, Renaissance, and Baroque
Medieval Drama in Spain
Characteristics
Medieval drama was primarily religious and performed in temples, streets, and squares. It originated from liturgical tropes and was often presented during Christmas and Easter.
- Religious theater was civic.
- Secular theater included momos and juegos de escarnio.
Manifestations
- Auto de los Reyes Magos
- Fiestas de Epifanía
- Misterios
Renaissance Theater in Spain
Renaissance theater was performed in churches, squares, halls, universities, and, by the late 16th century, in corrales de comedias.
Principal Tendencies
- Religious theater
- Italianate classicism
- Nationalism
- Popular theater
Theater of Cervantes
- 1st Epoch: Renaissance models
- 2nd Epoch: Followed models of comedies and entremeses. This drama was not successful.
Baroque Theater in Spain
Baroque theater encompassed three main types of dramatic manifestations:
- Comedies
- Dramas
- Mystery plays
Corrales de Comedias
Structure
Corrales de comedias consisted of courtyards with surrounding buildings that included windows with bars, apartments, lofts, an entrance stage, alojera (refreshment stand), cazuela (women’s seating area), balconies, rooms, aposentos (private boxes), and a wardrobe.
Representation
- Loa (prologue) and tono (musical interlude)
- First act: Farce
- Second act: Dance or jácaras
- Third act: Masquerade
Courtly Theater
Courtly theater developed in the royal court and was characterized by its spectacular nature, thanks to Italian set designers who began working in Spain. Performances took place in palaces and outdoors.
Autos Sacramentales
Autos sacramentales focused on the sacrament of the Eucharist, using symbolism, allegory, and elaborate stagecraft. They were typically performed in a single act and linked to religious celebrations. The allegorical expression and sumptuous scenery had a didactic and religious purpose.
Types of Dramas
Lengthy Works
- Serious: Tragedies, tragicomedies, autos sacramentales
- Comic: Comedies of intrigue, comedies of character, comedies of manners
Short Plays
- Entremeses (interludes)
- Loas (prologues)
- Dances
- Ballads
- Masquerades
- Mojigangas (burlesque plays)
National Comedy
Features
- Mix of tragic and comic elements
- Did not respect the unities of time and place, but adhered to the unity of action
- Three acts
- Decorum and verisimilitude
- Appropriate language
- Varied themes
Characters
- Lady
- Gallant
- Powerful figure
- Old man
- Clown
- Servant
Ideology and Purpose
- Relevance of the peasant and the king
- Guardian of social order
- Public entertainment
Leading Playwrights
Lope de Vega
- Creator of the national comedy
- Mixed cultured and popular elements in his dramatic works
- Famous works: Fuenteovejuna, El Caballero de Olmedo, Peribáñez y el Comendador de Ocaña
Tirso de Molina
- Cultivator of the new comedy, incorporating intellectual elements and psychological depth
- Female characters have significant importance in his works
- Famous works: Don Gil de las calzas verdes, El burlador de Sevilla (origin of the Don Juan Tenorio myth)
- Structure of El burlador de Sevilla: Don Juan’s deceptions of four women and episodes highlighting the double aspects of drama (imitation and punishment)
Pedro Calderón de la Barca
- 1st Stage: Theater of the corrales
- 2nd Stage: Courtly theater and autos sacramentales
- His plays have a high intellectual tone and great complexity
- Famous works: La vida es sueño, El alcalde de Zalamea
Baroque Literature
Baroque literature continued the creative principles of the Renaissance while incorporating profound innovations related to the historical ideology of the new period. Literary production can be divided into three phases:
- Between 1580 and 1610: Considered a transitional stage of renewal
- Beginning of the 2nd Epoch: The period of fullness coincides with the first third of the 17th century, when the great Baroque works were created
- 2nd Half of the 17th Century: Dominated by imitation and the beginning of decline, except for Calderón de la Barca, who created his best dramas from 1650 onwards
The Theatrical Spectacle in the Golden Age
Theatrical performances were abundant in cities with over 130,000 inhabitants. Theater was a major form of entertainment, attracting men, women, nobility, and commoners. Each social class occupied a specific space according to their rank. Performances started in the afternoon and were held in corrales de comedias (open-air spaces in the inner courtyards of houses). Wealthy merchants sat in the lunetas (front rows), women in the cazuela, and men in the courtyard (standing, hence called mosqueteros). They were known for causing a commotion, applauding enthusiastically if they liked the play, or throwing tomatoes and other objects if they didn’t. The corrales were simply decorated, without much ornamentation. Scene changes were done in full view of the audience, and the actors’ words and gestures transported the audience to the depicted location. Courtly theater, performed in palaces, had a very different aesthetic, with elaborate sets and costumes. Scene changes were often spectacular, captivating the audience. The public preferred works with happy endings and sought entertainment. Playwrights aimed for commercial success, selling their works to theater companies.