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A sumptuous history of Golden Age Spain that explores the irresistible tension between heavenly and earthly realms. Incomparable Realms offers a vision of Spanish culture and society during the so-called Golden Age, the period from 1500 to 1700 when Spain unexpectedly rose to become the dominant European power. But in what ways was this a Golden Age, and for whom? The relationship between the Habsburg monarchy and the Roman Catholic Church shaped the period, with both constructing narratives to bind Spanish society together. Incomparable Realms unpicks the impact of these two historical forces on thought and culture and examines the people and perspectives such powerful projections sought to eradicate. The book shows that the tension between the heavenly and earthly realms, and in particular the struggle between the spiritual and the corporeal, defines Golden Age culture. In art and literature, mystical theology and moral polemic, ideology, doctrine, and everyday life, the problematic pull of the body and the material world is the unacknowledged force behind early modern Spain. Life is a dream, as the title of Calderón’s famous play of the period proclaimed, but there is always a body dreaming it.
The Golden Age of Spanish drama extends from the close of the 15th century to the death of Calderón in 1681. During that time, the humanists, as dramatists, followed Italy's artistic awakening direction, and imitated Classical drama. With originality and dreams of greatness, they subverted the nature of tragedy; modified the approach of Comedy and invented the New Play, the Comedia Nueva. In it the poet-dramatists introduced important modificaitons of realism, included imagined reality, Christian symbolism and theatricality, as artistic truth. They elaborate all kinds of syntheses. For this reason, the Spanish Golden Age theater can be viewed as part of a tradition that includes the Greco-Roman comedy and tragedy, Christian tragedy, and the authentic national literary and dramatic tendencies. The entries in this reference book explore the fascinating history of the Golden Age of Spanish drama. The volume begins with an introductory overview of the literary, cultural, and historical contexts that shaped dramatic writing of the period. The book then presents alphabetically arranged essays for nineteen significant Spanish dramatists of the Golden Age. Each essay is written by an expert contributor and includes biographical information, an analysis and evaluation of major works, a discussion of critical response to the plays, and an extensive bibliography of primary and secondary sources. The volume closes with a selected general bibliography of central critical studies of Golden Age Spanish drama.
Previously published as a special issue of The Bulletin of Spanish Studies, The Eighteenth-Century Theatre in Spain is the second in a series of research bibliographies on the Theatre in Spain. Representing ten years of searches and compilation by its specialist authors, this volume draws together data on more than 1,500 books, articles and documents concerned with Spanish eighteenth-century theatre. Studies of plays and playwrights are included as well as material dealing with theatres, actors and stagecraft. Wherever possible, items listed have been personally examined, and their library location in Britain, Spain or USA is provided. Scholars with interests in drama will find in this single-volume work of reference a wealth of reliable information concerning this specialist field.
"Provides a complete account of the way in which plays were staged in Spain from the Middle Ages until about 1700. Covers the early religious and secular drama, the public playhouse, the court theatre, and the morality plays, or autos, written for the Feast of Corpus Christi"--From publisher description.
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. My research examines the relationship between theatrical practice, performance and audience reception, as well as their influence on theatrical poetics. I utilize recent performance and reception theories from such scholars as Elin Diamond, Herbert Blau, Susan Bennett, and Hans Robert Jauss, to name a few, as the primary theoretical bases for an exploration of the early modern Spanish dramatic tradition. Finally, I analyze the interrelationship between theory and practice by juxtaposing six playwrights' treatises defending their originality on the boards with a representative play from each one. My examination of Bartolome de Torres Naharro's Prohemio of the Propalladia (1517) in relation to the Comedia Ymenea (1516), as well as Juan de la Cueva's Exemplar poetico (1606) and the Comedia del infamador (1581), illustrates how initial interest in performance and reception shaped both dramatic practice and theory in sixteenth-century Spain. I then move to the Spanish Comedia, looking at Lope de Vega's Arte nuevo (1609) and Tirso de Molina's Los cigarrales de Toledo (1624) with relation to Lo fingido verdadero (1607--08) and El vergonzoso en palacio (c. 1611), respectively. Finally, with regard to the ways in which performance and audience reception affect the production of the auto sacramental and court drama, I study Pedro Calderon de la Barca's dramatic precepts, found in the prologue to his collection of autos (1677), and their further development in La segunda esposa o triunfar muriendo (c. 1649); then, I present a discussion of Francisco Antonio de Bances Candamo's dramatic treatise Theatro de los theatros (1689--94) and focus on the traditions of court theater seen in Duelos de Ingenio y Fortuna (1686). These six early modern writers remind us that theater is the most public and revealing of all the arts since an active and interactive audience is a dynamic requisite element of its conception.