Abstract

This paper is an analyisis, annotation and edition of the Mojiganga del mundinovo (‘The raree show, a carnival play’) by Antonio de Zamora. The play was performed in 1698 Madrid by the troupe of Carlos Vallejo, along with the sacramental one-act play El templo vivo de Dios (‘The living temple of God’). The hitherto unpublished text is based on the only two extant manuscripts, located in archives in Madrid. Despite the play’s title, my analysis argues that the novelty in this play is not so much the raree show, a contraption popularized four decades earlier in Golden Age theater, as the marmosets. The death of two marmosets and the ensuing desolation of their owner, Ms. Estupenda, both trigger the play and provide it with a plot. The marmosets, too, point to a changing mentality in late 17th-century society, regarding the possession among ladies of marmosets and other monkeys as pets.

Abstract

El trabajo estudia la concepción poético-musical de la ópera Angélica y Medoro (1722) de Antonio de Zamora. Esta es el resultado de un diálogo entre el lenguaje operístico como recurso para la espectacularidad necesaria para la representatividad de los Borbones y la dramaturgia poético-musical calderoniana como garante de la naturaleza española del evento.