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Spanish Drama of the Golden Age describes this little-known field of European drama. This book describes and analyzes Spanish plays and drama. It reviews the Spanish plays from the 1580s to the death of Pedro Calderon de la Barca in 1681. This text also discusses the controversy to which direction the Spanish theater would take: whether it is for entertainment or a representation of the intellect and emotions. This book describes Miguel de Cervantes, Lope de Vega, and the rise of the Spanish comedia. The text describes how Lope wrote his plays and how he sold them outright to the manager of an acting company, which became its property. The text also describes the life of Tirso de Molina who was often criticized for his cavalier treatment of a historical fact. This book also discusses the works of Ruiz de Alarcon, Guillen de Castro, Velez de Guevara, and Mira de Amescua. This book also assess this period of Spanish drama in terms of the influence of other countries in Europe such as Britain and France. This book can prove valuable for university students of Spanish, Spanish literature teachers to students of sixth forms, and Spanish historians.
Spain's Golden Age, the seventeenth century, left the world one great legacy, the flower of its dramatic genius—the comedia. The work of the Golden Age playwrights represents the largest combined body of dramatic literature from a single historical period, comparable in magnitude to classical tragedy and comedy, to Elizabethan drama, and to French neoclassical theater. A History of Spanish Golden Age Drama is the first up-to-date survey of the history of the comedia, with special emphasis on critical approaches developed during the past ten years. A history of the comedia necessarily focuses on the work of Lope de Vega and Calderon de la Barca, but Ziomek also gives full credit to the host of lesser dramatists who followed in the paths blazed by Lope and Calderon, and whose individual contributions to particular genres added to the richness of Spanish theater. He also examines the profound influence of the comedia on the literature of other cultures.
"This anthology of "new" approches to literary study takes its name from Lope de Vega's Arte nuevo de hacer comedias. Like Lope's poem on poetics, this volume also operates as a defense, in the sense that many of the articles include a defense of the usefulness of literary theory in general, and of their chosen approach in particular, for enriching the study of the comedia." "In these essays, it is the not quite new art of "estudiar" rather than "hacer" drama that is the central concern, the contributors defending theoretical innovations approximately twenty years after James Parr, in the pages of Hispania, issued his challenge to Hispanists to update their approach. This volume, which combines innovative scholarship with the "metacriticism" that many critics advocate in all literary study, is directed both the students of literature and to scholars who wish to expand their knowledge of the many different areas of theoretical inquiry that comediantes are currently exploring."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
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.
In this volume, Kathleen Jeffs draws on first-hand experience of the Royal Shakespeare Company's rehearsal room for the 2004-05 Spanish Golden Age season to put forth a collaborative model for translating, rehearsing, and performing Spanish Golden Age drama. Building on the RSC season, the volume offers methodologies for translation and communication that can feed the creative processes of actors and directors, while maintaining an ethos of fidelity with regards to the original texts. It argues that collaboration between academics and theatre practitioners was instrumental in the success of the season and that the work carried out has repercussions for critical debate of Comedia. The volume posits a model for future productions of the Comedia in English, one that recognizes the need for the languages of the scholar and the theatre artist to be made mutually intelligible by the use of collaborative strategies, mediated by a consultant or dramaturg proficient in both tongues. This model applies more generally to theatrical collaborations involving a translator, writer and director, and will be useful for translation and performance processes in any language.
Ranging from the earliest drama to the theater of the 1980's this encyclopedia includes coverage of national drama and theater around the world, theater companies, and musical comedy. Arrangement of the 1,300 entries is alphabetically by name or subject with nearly 950 of these devoted to individual playwrights and their works.
This is the first monograph on the performance and reception of sixteenth- and seventeenth- century national drama in contemporary Spain, which attempts to remedy the traditional absence of performance-based approaches in Golden Age studies. The book contextualises the socio-historical background to the modern-day performance of the country’s three major Spanish baroque playwrights (Calderón de la Barca, Lope de Vega and Tirso de Molina), whilst also providing detailed aesthetic analyses of individual stage and screen adaptations.