bluuebunny/crossref_metadata_2025 huggingface dataset:
Beleaguered Hegemony and Triangular Desire in Lope de Vega's Las famosas asturianas and John Ford's Stagecoach
Authors: Burningham Bruce R.
Published: January 2014

Through a comparison of two historically distinct dramatic and cinematic texts, this essay explores the parallel representation of "national history" on the Spanish corral stage and the U.S. silver screen at (or near) the crest of each nation-state's respective imperial power. By tracing the triangular interplay between the archetypal Caballero and Cowboy, the stereotypical Treacherous Moor and Wild Indian, and the besieged Heroine (symbol of "feminine civilization" precariously poised on the hostile frontier), this essay argues that these "historical" works-and others like them-seek to justify the sudden (and perhaps unexpected) geopolitical hegemony of the Iberian cristianos viejos and the North American WASPs by portraying their "national heroes" as beleaguered victims who achieve greatness in fighting a defensive struggle for survival against a "militarily superior" enemy. (BRB)
The Queen's Two Bodies: Sexual Politics in Lope de Vega's La reina Juana de Nápoles
Authors: Salvi Marcella
Published: January 2014

Modern critics have paid little attention to Lope de Vega's play, La reina Juana de Nápoles (1597-1603). Aesthetically, it has been viewed as one of Lope's inferior works. This essay considers Lope's play from an ideological standpoint. The analysis shows that the value of this work lies in its representation of a broad range of political and gender issues. The play explores the complexity and the paradoxes inherent in the marginal position held by a woman in power in a society in which power is essentially a male privilege. This topic would have been significant to Lope and his contemporaries owing to past and present historical examples of women in power. By evoking the historical figures of Elizabeth I of England, Isabel la Católica, and Joan I of Anjou, queen of Naples, La reina Juana de Nápoles alludes to proximal and past events in Spanish history. At the same time, the play participates in the ongoing debate of its time on the legitimacy of the presence of women in positions of power.
The Female Voice of Reason in the Plays of Juan Ruiz de Alarcón
Authors: Halpern Cynthia Leone
Published: January 2014

Several of Juan Ruiz de Alarcón's plays written during the final years of the reign of Philip III and the beginning years of Philip IV, which marked a period of reform for Spain, highlight assertive actions of female characters who serve as voices of reason. His heroines are examples of model behavior and espouse a healthy body politic. The other characters of the plays, the privados , as well as the wayward kings, learn from the wise counsel of women. This study is devoted to three of Alarcón's plays treated in chronological order according to their date of composition.
Alabanza política y crítica literaria en la Tragicomedia de los jardines y campos sabeos de Feliciana Enríquez de Guzmán
Authors: Vélez-Sainz Julio
Published: January 2014

Pese a no haber atraído excesiva atención crítica, la Tragicomedia de los jardines y campos sabeos de Feliciana Enríquez de Guzmán es una obra de gran interés para el lector del teatro áureo por su barroco gusto por lo mitológico, el sentido del humor, la experimentación técnica y genérica, y por haber sido representada delante de Felipe IV el 1 de marzo de 1624. Por medio de un análisis de los elementos mitológicos de la obra, observo que Feliciana presenta un mensaje doble al monarca en el que se combina alabanza política y crítica literaria. Feliciana se otorga una genealogía poética con la comedia culta y erudita, y presenta este estilo sevillano como alternativa al teatro lopesco.
De orgía y bacanal a sátira política: Entreactos de la segunda parte de Los jardines y campos sabeos de Feliciana Enríquez de Guzmán
Authors: Ruiz M. Reina
Published: January 2014

Feliciana Enríquez de Guzmán presenta en los entreactos pertenecientes a la segunda parte de la Tragicomedia de los jardines y campos sabeos (1624, 1627) una sátira a la sociedad cortesana de su tiempo entregada a la holganza y solaz entretenimiento, y a la conducts abusiva de privados y consejeros. La parodia y la distancia del mundo mitológico permiten a la autora sevillana componer un cuadro orgiástico en el que los asistentes al banquete del rey Midas en honor a Baco (sátiros, ninfas y dioses) participan en los concursos y justas organizados para su entretenimiento. Las orejas de asno de Midas se tornan en el foco de atención de las burlas e invectivas de toda su cohorte, y del origen de continuos consejos y advertencias que los personajes emiten para consolar al rey-asno. Al final, el dictado horaciano de utilidad y deleite está servido en estos breves, pero incisivos entreactos.
Female and Male Mediation in the Plays of Ángela de Azevedo
Authors: Gascón Christopher D.
Published: January 2014

In her three surviving plays, Dicha y desdicha del juego y devoción de la Virgen, La margarita del Tajo que dio nombre a Santarén , and El muerto disimulado , Ángela de Azevedo systematically depicts men as inept at the art of mediation, while her female characters successfully negotiate solutions to conflicts between individuals and society. I consider the different conceptions of mediation that emerge from such theoretical notions as Jacques Lacan's symbolic order, René Girard's mimetic desire, and Victor Turner's communitas . Azevedo's characters attempt to make others submit to consensual systems of symbols, as in Lacan's scheme, to act as mediators of desire, as in Girard's theory, or to intervene to resolve disputes, as in Turner's model. Male mediation ultimately fails, marred by the tendency to sacrifice the desires of others for personal gain. The women, on the other hand, reject sacrificial dynamics and use peaceful arbitration to arrive at equitable solutions. Though such ideas are not exclusive to Azevedo's work, she treats them with distinctive emphasis and consistency.
Symbolic Inversions in Ángela de Azevedo's El muerto disimulado
Authors: Múzquiz-Guerreiro Darlene
Published: January 2014

The publication of Teresa Soufas's anthology Women's Acts: Plays by Women Dramatists of Spain's Golden Age (1997) and her seminal work Dramas of Distinction (1997) have brought the works of five early modern women playwrights into the mainstream of Spanish Golden Age studies. This study focuses specifically on the Portuguese-born Angela de Azevedo's El muerto disimulado , written between 1621 and 1644, during the author's period of court service to Queen Isabela de Borbón. Her comedia affords Hispanists the opportunity to explore the construction and function of counter-discourses that clearly challenge the socio-cultural views of seventeenth-century Spain. My analysis examines the unique ways in which Azevedo creates what has been called "symbolic inversion." Azevedo constructs symbolic inversions in order to respond to the dominant discourses on womanhood, honor, vengeance, and marriage present in the dramatic works of her contemporaries by refiguring traditional comedia types while positioning them on familiar thematic ground. El muerto disimulado follows the traditional structure and content of plays penned by Azevedo's literary forefathers. In addition, typical comedia types are represented in this work, as well as the controversial cross-dressed male character. It is my contention that Azevedo breaks through the silence imposed on women writers by rearticulating gender specific roles and inverting social stereotypes in order to voice her ideological position, which simultaneously breaks with audience and reader expectations and comedia conventions. (DM-G)
Clothes Encounters: Revealing and Concealing the Body in Lope's La discreta enamorada
Authors: Larson Donald R.
Published: January 2014

It has long been recognized that clothes constitute one of the most important elements of the individual's construction of his or her social identity. What we wear communicates to the observer important information: our gender, economic condition, social status, profession, and a good many other things as well. But if clothes inform, they may also misinform, which is to say that the "facts" that they seem to convey may be based in falsehood as well as in truth. In modern times, clothes that intentionally mislead are sometimes regarded by onlookers as amusing, other times as distracting or puzzling. At worst, perhaps, they are considered an annoyance, except in those egregious cases in which "false" apparel is used to cause serious harm: one thinks, for example, of those who dress in such a way as to impersonate physicians or officers of the law. In the Early Modern period in Europe, however, clothes that did not correspond to one's God-given social role were considered seriously destabilizing of the natural order, and were regularly denounced in sermons and manuals of conduct. Over and over, the moralists of the day insisted that one must dress in "one's own guise." Needless to say, this admonition was not universally observed. Inevitably, the customs of real life were reflected in the life of the stage. One may take as an example the Spanish comedias de capa y espada , where clothes that mask one's true identity—dis-guises, in other words—are routinely employed. When those doing the masquerading are the young lovers of the piece, their transgression of the social order is typically overlooked, and they suffer no negative consequences. Indeed, some deviation from acceptable behavior in order to achieve the happy conclusion of their love appears almost to be expected of them. No such indulgence is accorded the "blocking characters" of the comedies, however, when they too attempt to project a false identity. Typically, the latter are exposed for being deceivers and self-deceivers, and at the end of the work they undergo appropriate punishments. Thus it is in Lope's La discreta enamorada , one of the most amusing pieces of the repertory. The play centers on four characters: the clever Fenisa; the young man whom she loves, the handsome and gallant Lucindo; Belisa, Fenisa's mother; and Captain Bernardo, Lucindo's father. For various complicated reasons, Belisa and the Captain stand as formidable obstacles to the accomplishment of the desires of Fenisa and Lucindo, but in the course of the action the opposition that they present is successfully overcome. The manner in which both the opposition and the overcoming of that opposition take place furnishes the comic interest of the play, and much of it has to do with the use of apparel to construct a false identity or convey a false impression. In the study that follows I focus on a number of the play's "clothes encounters" with a view toward illuminating their contribution, both to the work's meaning and to its comic spirit. (DRL)
El teatro novohispano en el siglo XVIII
Authors: Peña Margarita
Published: January 2014

Se estudia el fenómeno del teatro novohispano del siglo XVIII a la luz de la preceptiva neoclásica. Se abordan los temas de las "sueltas" impresas en la península que inundan los escenarios novohispanos, la obra de dramaturgos locales, la censura inquisitorial, el teatro como empresa, los comediantes, las reformas borbónicas y el público. El artículo llega cronológicamente hasta las postrimerías del siglo XVIII.
The Adoración de los reyes : Franciscans, Nahuas, and Layered Performance in Colonial Mexico
Authors: Cherico Rebecca Vitz
Published: January 2014

The Adoración de los reyes is an auto whose performance was first recorded by Fray Alonso Ponce in 1587 and was probably first performed in the middle of the century. Various critics have analyzed autos performed for Nahuatl audiences and have noted the connection between the themes selected and indigenous customs or practices. In the case of the Adoración , we see the inclusion of Mexica history as a constitutive dimension of this Christian play. In this paper, I argue that what we see in the Adoración is a fascinating example of the unique fusion resulting from Franciscan and Nahua preoccupations and interpretations of events. This auto is, essentially, a multi-layered performance, existing both as a religious drama and historical commentary: one that fuses Franciscan and Nahua sensibilities into a complex image that its simple language belies. (RVC)
Performing Encounters: Lope's El Nuevo Mundo Descubierto Por Cristóbal Colon
Authors: Castillo Susan
Published: January 2014

This essay analyzes the performance of certain key historical events as the site where colonial difference is enacted, and where diverse local narratives struggle for supremacy. Lope de Vega, in his play El Nuevo Mundo descubierto por Cristóbal Colón , stages the encounter between Columbus and the indigenous peoples of the New World in order to explore themes such as linguistic and cultural incommensurability, the conflict between indigenous belief systems and imperial Catholicism, the role of communicative technologies such as writing in the Conquest of America, and the struggle between alternative visions of what the Conquest was ultimately supposed to achieve.
Alegoría, discurso político y la nueva comedia: Lope de Vega
Authors: Carreño-Rodríguez Antonio
Published: January 2014

Las comedias históricas de Lope de Vega, basadas en substratos de crónicas, leyendas o romances, cubren un extenso y rico período: desde los inicios de la Reconquista hasta la muerte de Felipe II. Las comedias enmarcadas en períodos más recientes (Reyes Católicos, Carlos V, guerras de Flandes, descubrimiento de América) cumplían una múltiple función: informaban sobre unos hechos, idealizaban un presente cercano y establecían una identidad próxima al espectador. Tal género de comedias sigue sin ser críticamente editadas y menos estudiadas en su triple función. Representan una historia ficcionalizada, ejemplifican una forma de conducta y presentan y representan modos de ser, de actuar y de pensar. Pero a veces su discurso es críptico, reflejo. Presentan una conducta desechable o un comportamiento lejos de ser ejemplar. Éste se representa con frecuencia bajo personajes nobles y distinguidos. Tal oblicuidad infiere una dramaturgia que raya con los presupuestos ( latu sensu ) de la alegoría, El presente ensayo tiene por objetivo establecer la conceptualización del discurso histórico, su enlace como discurso político y su doble manipulación al ser sutilmente enmascado bajo la connotación alegórica que delata oscureciéndolo; en palabras de Cicerón, en sus Cartas a Ático, allegoriais obscurabo . (AC-R)
La conquista de Santa Fe de Bogotá de Fernando de Orbea y los sujetos ideales de la modernidad barroca
Authors: Restrepo Luis Fernando
Published: January 2014

Se analiza la Comedia nueva: la conquista de Santa Fe de Bogotá , un drama que data probablemente de la segunda mitad del siglo XVII, compuesto por Fernando de Orbea. Se argumenta que no es en ningún sentido una obra americana ni colombiana, como lo ha afirmado la crítica, sino que se trata de una obra española que apela al tema indiano para expresar preocupaciones de la sociedad peninsular de la modernidad barroca. A través de dos historias de amor entrelazadas y la figura del indio gracioso y tonto, Orbea presenta una calculada justificación de la colonización y una defensa de la monarquía absolutista y la fe de la Contrarreforma.
Espectáculos parateatrales en las entradas de virreyes en la Nueva España: El caso del Conde de Paredes (1680)
Authors: Farré Judith
Published: January 2014

Este artículo trata sobre la entrada en el cargo del conde de Paredes como virrey de la Nueva España en la ciudad de México el 7 de noviembre de 1680 a partir de la información contenida en la Pierica narración de la plausible pompa escrita por el bachiller Juan Antonio Ramírez Santibáñez. Dicho documento se centra en la descripción de los elementos parateatrales de una celebración cuyo fin es constituir un ritual festivo de ostentación y legitimación del poder (como la organización del cortejo-procesión, los detalles relativos a su puesta en escena, las específicas formas de ocupación espectacular del espacio público, la descripción ornamental, el espectáculo taurino, por citar algunos). Además, la relación aporta un dato hasta ahora desconocido al incluir en la descripción de la entrada de este virrey los festejos taurinos.
The Dramatization of the Arte nuevo : Revisiting Lo fingido verdadero
Authors: Grubbs Anthony John
Published: January 2014

Innovation and conflict have always characterized early modern Spanish theater. The dramatic text, transformed and reincarnated with each interpretation onstage, was in a constant state of flux in the Golden Age and a number of dramatic poets of the day wrote both for the stage and about the changes it was undergoing. Furthermore, as a result of the commercialization of theater during the last half of the sixteenth century, the production and the representation of plays began to diverge from the earlier secular contexts of courtly entertainment and from the didactic scope of religious dramas. The Comedia, a new, mixed-genre form, still entertained nobles and taught a moralizing lesson, but as the public and theatrical spaces changed, so did the dramatic landscape of early modern Spain, and a more heterogeneous public went to see plays in the newly constructed and permanent corrales de comedias . The formation of this theater-going public presented challenges for the dramatic poet, who was forced to face the new and changing needs and expectations ofthe audience. Most Spanish Golden Age playwrights met this challenge head on, changing with the times; among the many great dramatists of the era, Félix Lope de Vega Carpio stands out as he embraced the existing—and evolving—dramatic tradition and molded it into what we know as the Comedia, successfully establishing it as the prominent theatrical form of seventeenth-century Spain. Lope has sparked abundant critical commentary and study since the seventeenth century. The evolution of critical and theoretical approaches has led a number of critics to reexamine Lope's dramatic texts and their guiding principles. Influential studies in the areas of metatheater, audience reception, and performance have further generated the possibility of new interpretations of the Comedia, opening vistas that expand our understanding of the dramatic form. In this essay I examine Lope's Arte nuevo and discuss its dramatization in the coetaneous play Lo fingido verdadero to illustrate Lope's interest in performance and reception as seen in both types of works, as well as his desire to disseminate non-traditional techniques and ideas to a wide audience. (AJG)
El teatro de la Compañía de Jesús en las festividades religiosas de la Nueva España (1600-1630)
Authors: Reyes Dalia Hernández
Published: January 2014

Si bien los historiadores de la literatura novohispana reconocen la importancia y vitalidad del teatro creado y promovido por la Compañía de Jesus, lo cierto es que falta aún mucho por hacer en el estudio de esta modalidad teatral. Este trabajo intenta reconstruir o bosquejar parte de la versátil dramaturgia jesuita novohispana en un período específico (1600-1630) y en situaciones también particulares: las festividades religiosas, recurriendo como fuentes primordiales a las cartas anuales, las crónicas e historias de la orden, las relaciones de sucesos impresas y manuscritas y algunas piezas teatrales manuscritas conservadas.
Las máscaras de Cortés: La conquista de México , de Fernando de Zárate
Authors: Ruano de la Haza José María
Published: January 2014

Este trabajo pretende demostrar que los "siete mitos de la Conquista española" que analiza Matthew Restall en un reciente libro no son más que posiciones en un debate que comenzó en el siglo XVI y sigue hasta nuestros días. La conquista de Móxico , de Fernando de Zárate, comedia de ocasión, probablemente truncada y pensada para un escenario espectacular, ofrece una compleja visión de la Conquista y de las figuras de Hernán Cortés y Motezuma que está reñida con la tesis parcial y reductora de Restall.
Siete años en el Purgatorio: Judíos y cristianos en Las paces de los reyes y Judía de Toledo de Lope de Vega
Authors: Patriau Gustavo Faverón
Published: January 2014

Este artículo estudia la peculiaridad de la representación del judío en una pieza dramática de Lope de Vega, Las paces de los reyes y Judía de Toledo , y encuentra en ella una representación sui generis de la imagen del judío, no como radicalmente ajeno a la sociedad española, sino como elemento que, aunque corruptor, es propio de ella. El punto de ingreso a tal lectura es una diferenciación entre la imagen del judío como ser natural y presimbólico y la imagen del judío en tanto cuerpo socialmente marcado. La relación amorosa entre los dos protagonistas, el rey hispano y la judía Raquel, se construye en la obra con los rasgos de la violación de una ley, la inobservancia de una regla. La culpa de esa violación, sin embargo, es atribuida alternativamente a Raquel, como factor de corrupción y enfermedad, unas veces, y, otras veces, al rey mismo, como criatura atrapada entre la homogénea constitución de su ser en tanto monarca y la fragilidad carnal de su ser en tanto hombre. Mientras que los prolegómenos del romance y sus consecuencias políticas son tratados por la obra directamente en el plano textual (y, por tanto, representadas frente al espectador), el período de siete años en que la pareja vive en aparente felicidad es sólo aludido, y se esquiva su representación. El artículo reconstruye la función de esa elusión textual en la mecánica ideológica del texto, y propone que es en ese intencional silencio donde debe leerse la complejidad del postulado central de la obra: la relación entre el rey cristiano y la judía se produce en un plano diverso al resto, donde ambos personajes abandonan la carga simbólica de sus posiciones sociales, y se enfrentan uno al otro como seres humanos desnudos de cualquier sobredeterminación simbólica. De ese enfrentamiento, surge la conversión de Raquel, pero también su posterior muerte y el regreso del rey a su calidad de líder católico: el reemplazo del prejuicio simbólico por una suerte de moralidad igualitaria es sólo pasajero, pero, sin duda, muy diverso de la habitual representación de las relaciones entre cristianos y judíos en la literatura de la época, (GF-P)
Precursores iconográficos y arquitectónicos del teatro misionero novohispano
Authors: Schuessler Michael
Published: January 2014

De acuerdo con los estudios realizados sobre el tema, tanto la génesis como el desarrollo del teatro de evangelización novohispano parten exclusivamente de una tradición didáctica europea—esto es, el exemplum —nacida en la Edad Media, pero después modificada en el nuevo continente, para responder a una situación novedosa y única: la conquista espiritual de los naturales de la Nueva España. Si bien existe documentación para comprobar la supervivencia de algunos elementos asociados con las representaciones precortesianas que pudieran llamarse dramáticas, éstos son escasos, y, al igual que su acompañante iconográfico, la pintura mural, se reducen a asuntos de naturaleza decorativa: la escenografía, la recreación de plantas y animales, etc., con pocas—pero importantes—excepciones. En este artículo, se estudian los precursores del teatro llamado misionero, por medio del análisis de otros tipos de representación dramática, que incluyen el llamado "performance" religioso, pantomimas y presentaciones audiovisuales.
Apetitos coloniales, salvajes críticos y razón de imperio en las Cortes de la Muerte (1557)
Authors: Jáuregui Carlos
Published: January 2014

Éste es un estudio de la escena o retablo XIX de las Cortes de la Muerte (1557), de Michael de Carvajal, una de las escasas obras de teatro imperial español del siglo XVI que dramatiza la conquista del Nuevo Mundo. El retablo representa una querella de un grupo de indios contra los conquistadores y encomenderos. Indudablemente influenciada por los alegatos de Bartolomé de las Casas, la obra constituye una suma dramático-alegórica de la formación moderna de la razón imperial y de los debates respecto de la conquista del Nuevo Mundo. Sin embargo, el cuestionamiento lascasiano de la conquista y de la dominación de los indios se convierte en una reinvención dramática del imperialismo. El salvaje quejoso es un dispositivo alegórico por medio del cual una nueva ratio imperii emerge y se afirma en la negación de sus condiciones materiales de posibilidad: la violencia y el despojo.
Escenificación corporal y autorreferencialidad en el entremés La casa holgona de Pedro Calderón de la Barca
Authors: Austin Amy M.
Published: January 2014

El entremés, debido a su brevedad temporal, y a su lenguaje y temática absurdos, se ha clasificado como género menor en el contexto dramático del siglo XVII, junto con la loa y la mojiganga. En este ensayo examino el entremés con el intento de reexaminar su designación y definición como "teatro menor." Arguyo que el entremés se convierte en un elemento necesario de la comedia no sólo por razones de entretenimiento, sino también por su habilidad de crear un espacio en donde se representa lo invisible, lo inexplicable y lo ilegal. Este estudio considera las intervenciones históricas e ideológicas de los moralistas, enfocándose en cómo las inscripciones figurativas del cuerpo en La casa holgona rompen con los discursos dominantes mediante la creación de espacios de resistencia. (AA)
Ollantay , the Khipu, and Eighteenth-Century Neo-Inca Politics
Authors: Brokaw Galen
Published: January 2014

Most criticism of the secular Quechua play Ollantay has focused on the debate as to whether the play is essentially Hispanic or indigenous in origin. The reduction of this issue to such a binary opposition fails to take into consideration the essentially transcultural nature of the work. Regardless of whether or not a version of the story dramatized in Ollantay belonged to some kind of indigenous tradition, the alphabetic version that has survived is a product of the eighteenth-century Inca renaissance. The social and political context of eighteenth-century Cuzco informs an analysis of the two khipu readings in the play and the way in which these passages were translated in the nineteenth century. The implicit description of the khipu in the initial Spanish and English translations appears to reflect what may have been colonial innovations in khipu practices.
Amar su propia muerte : el drama de la representación criolla
Authors: Vitulli Juan M.
Published: January 2014

El presente ensayo realiza una lectura de la obra Amar su propia muerte de Juan de Espinosa Medrano, intentando situarla dentro del complejo campo de la literatura colonial. Al analizar elementos claves de la comedia, como su lenguaje, el espacio de creación y recepción y la ideología de la misma, se pretende demostrar que la dinámica de apropiación y re-elaboración de cánones estéticos metropolitanos, por parte del letrado criollo, plantea problemáticas afines a la reflexión en torno a su identidad.
Defining the Comedia : On Generalizations Once Widely Accepted That Are No Longer Accepted So Widely
Authors: Stroud Matthew D.
Published: January 2014

How we think about the Spanish comedia as a genre has changed dramatically over the past thirty years. Informed as we are today by a multitude of decentralizing theories, it is hard to believe that so much time and energy was spent, just a generation ago, on trying to establish a list of characteristics and generalizations that would not just define all comedias and exclude those that one would intuitively not include in the genre, but would provide the singular, monolithic approach to understanding the comedia . The assertions reconsidered here include the claims that the comedia was monolithic and conventional, that it faithfully reflected Spanish society, that it was profoundly conservative from social, political, and moral points of view, and that comedia plots uniformly followed a trajectory from order disturbed to order restored. Since many of those assertions are no longer held to be so incontrovertibly true, it is tempting to ask, "Were we wrong then or are we wrong now?" Such a question falls into the trap of assuming that one interpretation or one approach to literature is right and all others are wrong. Ultimately every generation must reconsider everything it knows about the literature that is handed down to it and come to its own conclusions, its own generalizations, and its own definitions. Otherwise, literature, especially that produced centuries ago, runs the risk of becoming irrelevant to readers of future generations.
Peralta Barnuevo and the Influence of Calderón's Operatic Legacy to Viceregal Peru
Authors: Williams Jerry M.
Published: January 2014

Como ejemplo del arte dramático peruano durante el siglo XVIII, una obra desconocida del polígrafo limeño Pedro Peralta Barnuevo establece un vínculo imitativo con la tradición operática establecida en España por Calderón de la Barca. El libreto de una loa de 1725 revela que Peralta se aprovechó de las innovaciones teatrales más recientes italianas y europeas, y demuestra cómo aquí aplicó su teoría y crítica del género dramático, tal como practicado en España, Francia e Italia, en componer dicha obra. La novedad de la pieza yace en la unión del diálogo entonado y recitado, y en documentar la abdicación de Felipe V y la ascensión al trono del trágico Luis Fernando I. Se encuentran en la operetta una confluencia de adaptaciones derivadas del arte, de la política y de la historia peruana y peninsular, las cuales reflejan una intriga palacial y un fuerte sentimiento popular. La loa confirma el merecido lugar de Peralta como dramaturgo académico único.
Criminalidad y buen gobierno en un entremés conventual: las monjas de San Jerónimo instruyen al virrey (México, 1756)
Authors: Luciani Frederick
Published: January 2014

Este artículo examina un entremés representado en el convento de San Jerónimo en la Ciudad de México en 1756, como parte de un festejo para recibir al nuevo virrey. El entremés ofrece una vista jocosa del mercado de la Plaza Mayor, y de los diferentes "tipos" sociales que se encuentran allí. Con su énfasis en los actos de delincuencia que ocurren en el mercado, y en la pobreza plebeya que existe en medio de una tremenda abundancia de mercancías, el entremés refleja las diversas imágenes del mercado de la Plaza Mayor de México que existían en el período colonial en general, según los textos de la época: "teatro del mundo," cornucopia humana y natural, foco de disturbios civiles y de criminalidad urbana. Partiendo de esta tradición, el entremés ofrece al nuevo virrey una vista de la compleja y dura realidad social que existe un poco más allá de las ventanas de su palacio. La resolución del conflicto del entremés es igualmente instructiva, ya que propone, implícitamente, no só1o un modelo de comportamiento civil y moral para los personajes, sino también una lección sobre las causas de la criminalidad y una fórmula de "buen gobiemo" para el virrey.
Some Thoughts on Editing, Translating, and Teaching El médico de su honra
Authors: Fox Dian
Published: January 2014

The second edition of The Physician of His Honour / El médico de su honra (Aris & Phillips) extensively revises the translation, simplifying the English. The introduction and notes are updated, reflecting advances in scholarship during the last ten years and the evolution in the translator's understanding of the comedia . Gutierre's peculiarities of expression are especially notable, as are other characters' reactions to and commentaries on his verbal eruptions. In the classroom, a close and student-centered reading allows each to "produce" her or his own text. Attention to performance helps the reader inhabit the sensibilities of the characters, encouraging recognition of one's self in the other. (DF)
Juegos caballerescos en el origen del teatro áulico
Authors: Alemany Ignacio López
Published: January 2014

Desde hace ya algunos años se ha empezado a investigar la relación que con el nacimiento de la comedia nueva tienen los pasos de armas y distintos entretenimientos cortesanos de tipo más o menos castrense. En este trabajo no se pretende discutir si estos juegos palaciegos constituyen o no dramas propiamente dichos. Más bien, se trata de ver qué elementos de estas diversiones tienen incidencia en la posterior comedia caballeresca del Siglo de Oro. Se establece una posible genealogía en la que tienen especial importancia ilustrativa las fiestas celebradas por el condestable de Castilla, Miguel Lucas de Iranzo, en 1563, las jornadas festivas de la corte de los virreyes Fernando de Aragón y Germana de Foix en 1535 y diversos tomeos caballerescos más o menos dramáticos organizados en tiempo de Carlos V. (ILA)
Slaying the Beast: The Case of Beatriz in Sor Juana's and Agustín de Salazar y Torres's La segunda Celestina
Authors: Gasior Bonnie L.
Published: January 2014

This essay examines female agency and deviance in two key scenes of La segunda Celestina as an act of monstrosity, a term that figures in this context as a transgression of gender codes. One of the three main female characters, Beatriz, is identified by her proclivity to hunt and her aversion to marry. While this may not be a new concept in comedia studies, the correlation between such an attitude and manifestations of monstrosity opens up the text to a reading that includes, but also transcends, the debate of authorial collaboration that has surrounded this text for a decade and a half. Through key discourses and descriptions, Beatriz exemplifies when monsters tend to emerge, how they are identified, and why soon thereafter they must be eliminated. Most importantly, Beatriz's actions demonstrate the modes by which monsters threaten social order. (BLG)
The Performance History of Golden-Age Drama in Spain (1939-2006)
Authors: Wheeler Duncan
Published: January 2014

It has become a commonplace in comedia studies to lament the lack of a performance tradition in Spain. However, this claim is rarely substantiated with a detailed analysis of comedia performance over a sustained period of time. Focusing primarily on productions of works by the three chief proponents of Golden-Age drama (Calderón, Lope, and Tirso), this article will analyse, chronologically, the tradition of comedia performance in Spain between 1939 and 2006. I will offer a description of moods, trends, and styles that have underpinned the production and reception of Spanish seventeenth-century plays since the end of the Civil War, often highlighting the production and reception of specific performances. (DW)
Los corrales de comedias del siglo XVII madrileño: espacios de sensualidad urbana
Authors: Fernández Esther
Published: January 2014

Este estudio se propone investigar cómo la localización urbana, la arquitectura y el funcionamiento interno de los corrales contribuyeron a transformar la comedia en una experiencia orgánica y totalizadora de bacanal urbana. Para ello partiremos del estudio de la ubicación clave de los patios de comedias en el caso particular de la villa de Madrid. Seguidamente, nos adentraremos en la articulación de su sinuosa distribución interior y, finalmente, analizaremos la función de los 'empleados' cuya interacción con el público asistente tuvo cierta responsabilidad, al igual que los demás factores mencionados, en convertir los teatros comerciales en activos lugares eróticos del momento. (EF)
The Paradisal Geography of Tirso's La mujer que manda en casa
Authors: Lottman Maryrica Ortiz
Published: January 2014

The motif of verticality underlies the depiction of Queen Jezabel as the Babylonian queen Semiramis. By expanding her royal gardens, Jezabel seeks to emulate the Hanging Gardens of Babylon, which were built by Semiramis. The motif of verticality also relates to the joint struggles of Jezabel's opponents, Elías and Nabot, to lead the Israelites to the garden-city of the New Jerusalem. In the Apocalypse, the New Jerusalem is described as a garden-city surrounded by a high wall and located on a mountaintop. Each of its three principal features (the garden, the wall, and the mountain) comprises an arena of conflict in the play. (MOL)
Engendering Narrative Equality in Ángela de Azevedo's El muerto disimulado
Authors: Gabriele John P.
Published: January 2014

In an affront to traditional narrative practice, Ángela de Azevedo posits a feminist discourse in El muerto disimulado by constructing a protagonist, Jacinta, who breaks with the traditional female role of passive object to take control of narrative and emplotment as the speaking subject. As the female voice strives to gain greater narrative authority in the play, the male and female characters struggle to come to a new understanding of their social and narrative selves. Consequently, the conventional notions of gender are in a state of unrest in both a social and a narrative context. Azevedo's objective, like that of all writers who are motivated by a desire to confront practices founded on unsubstantiated beliefs, is not to invent a women-centered narrative that sets woman above man, female above male, the feminine above the masculine, but to reveal the fictionality of the social behavior and the discourse that accompanies it. By creating a female protagonist with a strong personal voice, by reaffirming her own authority as the author of the text through Jacinta, and by imbuing her text with a unique sense of communal voice, Azevedo assures that her voice and the voices of her characters, regardless of their sex, play an essential and indispensable role in the creation of a narrative that marginalizes no one. (JPG)
Humor and the Metadiscourse of Control in the Comedia
Authors: Bergman Ted L. L.
Published: January 2014

Who gets to determine what is funny in the comedia ? This article seeks to answer this question, on the level of character dialogue, through the use of two principal theoretical constructs regarding language and humor. These are, respectively, agonistic language-games and metadiscourse as it refers to the control of discourse through humor. They have been chosen as more flexible alternatives to foundational speech act theory because close analysis of character dialogue consistently points towards Wittgenstein's observation that we "make up the rules as we go along." While holding to the basic premise that there are winners and losers, though not always defeated parties, this article asserts that restrictive attempts to define conditions under which jokes are told can be counterproductive and even misleading. The comedia genre allows for a great number of contests of wit that may defy supposed conventions or even go undetected. A gracioso who is apparently silenced may actually be a winner in his control over discourse through transgressive humor. The galán and the gracioso may switch roles, or the galán , even a segundo galán , may supplant the gracioso and become the driving comic force of the play. When jokes are studied in terms of discourse and who is in control, further complexities of the comedia as a genre, and even previously undiscovered jokes, can be revealed. (TLLB)
The Judaization of Christianity in Felipe Godínez's Ester plays
Authors: Herskovits Andrew
Published: January 2014

Felipe Godínez, priest, doctor of theology and dramatist, was tried by the Inquisition for Judaizing in his everyday-life, in his theology, in his sermons, and, most importantly for us, in his dramatic output. What makes Godínez singular in the context of the Spanish Golden Age is that he justified theologically his everyday Judaizing, and translated his theology into artistic expresssion in La reina Ester and Amán y Mardoqueo . He was found guilty of heresy, but received an unusually light sentence. After a brief biography, I proceed by putting him in the context of Golden-Age Spanish society, in which descendants of judeo-conversos after many generations still perceived as Jews by most cristianos viejos . This perception created an especially severe identity problem for judeo-conversos , which they tried to solve in various ways; Godínez created his own solution, which is the principal subject of this essay. (AH)
Lope de Vega's Peribáñez in Translation French-Colombian Style: Omar Porras's "Masks of Reality" on the Boards of The Comédie-Française
Authors: Fischer Susan L.
Published: January 2014

In the past decade, Peribáñez y el Comendador de Ocaña was not only produced once in Spain (2002), but also translated and mounted twice in England (1998, 2002). Florence Delay's faithful French rendering under the title of Pedro et le Commendeur reached the boards of The Comédie-Française in 2006 under the aegis of Colombian director Omar Porras. Porras deployed the mask à la James Ensor—with its contrastive elements of illumination and color—to depict the feudal story of eroticism, transgression, and vengeance in his mise en scène . In view of the extreme appropriation of an early modern text that Porras's staging represents, one wonders to what extent the ideologically encoded liminalities affecting the audience's perception of the performance generated a sophisticated confrontation with René Girard's so-called brand of "anticathartic irony": irony that is "experienced in a flash of complicity with the writer at his most subtle, against the larger part of the audience that remains blind to these subtleties" ( A Theatre of Envy 253). (SLF)
"Es de Lope": The Drama of Confession and Fuente Ovejuna
Authors: Pace D. Gene
Published: January 2014

While critics have written much about Lope de Vega's popular Golden Age play Fuente Ovejuna , they have not yet tapped its bursting confessional possibilities that culminate in a spectacular group confession. By the early seventeenth century, confession is so deeply entrenched in Spanish religious practices that its inclusion in this play provides a unifying religious theme that buttresses Lope's encouragement of a national theater. In this highly allegorical work, the united penitence of an entire town may be viewed as the confession of an emerging Spanish nation. Balancing justice and mercy, the king acts the part of a royal Confessor who is both national judge and doctor. Lope's repetition of the confessional torture scene—rehearsal, performance and celebration—is an effective didactic technique that reinforces the ritualistic nature of confession. Fuente Ovejuna , a drama of multiple confessions and of secular rituals that mimic the religious sacrament, demonstrates how confession is an eminently performative speech act that is both seen and heard. (DGP)
¿Nobles o villanos?: El discurso metateatral y la identidad social en Valor, fortuna y lealtad de Lope de Vega
Authors: Ryjik Veronika
Published: January 2014

En The Presentation of Self in Everyday Life , Irving Goffman estudia la vida social desde la perspectiva de la representación teatral. Las relaciones entre los individuos se ven como una puesta en escena, en la que la persona manipula consciente o inconscientemente la impresión que los demás reciben de ella, al mostrar una máscara de acuerdo con una situación dada y con una personalidad que se forma a partir de pautas culturales desarrolladas en torno a sus experiencias. Es obvio que la definición de las relaciones sociales en términos de representación teatral elimina la posibilidad de concebir estas relaciones y la misma identidad social como algo definitivo e inalterable. El objetivo de este trabajo es demostrar que en la segunda parte de Los Tellos de Meneses , conocida como Valor, fortuna y lealtad , se nos presenta, mediante el motivo de mudar de traje y las referencias metateatrales, un caso del cambio de papeles que demuestra la inestabilidad de las barreras sociales, puesto que la pertenencia del individuo a una u otra clase se convierte en una especie de performance que puede variar conforme con las circunstancias. Al recurrir al discurso metateatral, Lope acaba por abordar el tema de la estratificación social con una ambigüedad que nos puede hacer cuestionar su fama como defensor vehemente de la inflexibilidad de las barreras de clase. (VR)
The 1541 Crónica general and the Historical Theatre of Juan de la Cueva and Lope de Vega: An Epic Debt
Authors: Coates Geraldine
Published: January 2014

This article attempts to cover new ground by examining in detail the influence of Florián de Ocampo's Crónica general of 1541 upon the historical theatre of Juan de la Cueva and Lope de Vega, specifically the plays based on Iberian epic legend. Critical discussion of Cueva's and Lope's sources has either tended to privilege the predominant employment of the romancero in the national theatre, or to allude in unsupported terms to the possible use of chronicle material, usually the work in question by Florián de Ocampo. This study seeks to address the validity of the former argument, and the need to develop and prove the latter. I challenge the traditional presumption that the romancero is the predominant source of, and influence upon, these plays by elucidating the scale and nature of Cueva's and Lope's borrowing from Ocampo. A representative selection of plays from each author is examined in order to ascertain their debt to the Crónica general in terms of plot, dramatic structure, and thematic reminiscence between chronicle and theatre. Similarities of narrative style are also treated through the exposition of direct verbal and syntactic borrowings from Ocampo. With the aim of establishing a more nuanced and balanced discussion of Cueva's and Lope's sources, I demonstrate that a considerable body of correspondence between chronicle and theatre suggests that Ocampo's Crónica general ought to occupy a more central position of influence. (GC)
The Quest for Identity at the Onset of the Age of Reason: Calderón's Hado y divisa de Leonido y Marfisa
Authors: Meixell Amanda S.
Published: January 2014

This paper examines how Calderón's chivalric drama Hado y divisa explores late seventeenth-century attitudes toward knowledge and ways of knowing by revealing the struggle between reason (or a scientific approach to knowledge) and intuition (or a non-rational, spiritual approach to exploring the mysteries of life) underlying the protagonist's quest for identity. The conflict is presented through Leonido's (the protagonist's) two criados , Polidoro and Merlin, who represent these two primary opposing forces. This idea of opposing forces impacting upon Leonido reflects an important notion of the Renaissance mind, the concept of contrariety as a fundamental operating principle of experience. Hado y divisa uses these opposing forces to expose the lack of spirituality in an age increasingly reliant on reason and to highlight spiritual paths to knowledge (in contrast to scientific approaches to knowing). Read within the context of this philosophical discussion on the paths to knowledge, the horrible death of Polidoro, the Voice of Reason, reveals more than simply the real world's contamination of the ideal world of romance. Leonido is shown to be a complex character experiencing an internal struggle along his quest for self-knowledge, not the uninteresting, unchanging hero, as he has been described in earlier criticism. (ASM)
El Sueño como personaje alegórico en dos autos de Calderón: La siembra del Señor (antes de 1655) y Sueños hay que verdad son (1670)
Authors: Gilbert Françoise
Published: January 2014

Este artículo analiza la ambigüedad del personaje alegórico de Sueño en dos autos sacramentales de Calderón, La siembra del señor y Sueños hay que verdad son . En el primero, la figura de Sueño, connotada como 'acto de dormir', se alía con la Culpa para contrarrestar la instauración de la Edad de Gracia. Pero con la muerte de Emanuel y la llegada de la Ley Nueva, el personaje se vuelve la voz anunciadora del advenimiento de la Edad de Gracia. En Sueños hay que verdad son , el Sueño figura el 'acto de soñar', que aparece primero como negativo, y luego como el vehículo de los designios divinos. La ambiguëdad de la figura alegórica, a veces sinónimo de cegüera y muerte, y otras de revelación divina, estriba en la polisemia del propio concepto. (FG)