Abstract

The main objective of this article is to find a pattern that explains the extraordinary profitability of the allusions to the decir sin decir, related to the hiding and revelation of the secret of love, one of the most recurrent themes in the Calderonian universe. For this, we [...]

Abstract

The Portuguese reality is part of the thematic heritage of the Spanish Golden Age theatre which highlights from the Lusitanian their courage at war and their excess in passion. Literary interactions took place in two senses: the Lusitanian tradition was treated in Spanish pieces, [...]

Abstract

This article contains a deep analysis of the sacramental play Auto Sa­cramental del Juego del Hombre written by Luis Mejía de la Cerda in 1625. The piece is composed taking a card game as the core topic and representing Christ as a player betting amongst the Death, Devil and World. [...]

Abstract

Analysing the errors committed by Calderón himself during his writing amplify the perspective on his complex composition process. The aim of this paper is to offer an initial approximation on autograph errors located in En la vida todo es verdad y todo mentira, La desdicha de la [...]

Abstract

The actual essay analyzes briefly the situation of the Calderonian plays within the new taste of the Neoclassicist period, in order to examine the editions of his work that were printed from the end of the 17th century to the middle of the 18th. First of all, we study the editorial [...]

Abstract

This paper aims to analyze how the scenic word built the devil’s image and the diabolic, in four Spanish Baroque plays: El esclavo del demonio («The Devil’s Slave», 1612), by Antonio Mira de Amescua (1577- 1636); El condenado por desconfiado («Damned for Despair», 1635), by [...]

Abstract

Calderón’s court spectacle play Eco y Narciso was first performed in 1661 to celebrate the tenth birthday of the princess Margarita, the infanta in the center of Velázquez’s painting Las meninas (1656). Calderón opens the drama with a celebration of the birthday of the shepherdess [...]

Abstract

La estatua de Prometeo clearly illustrates the love of the artificial that Calderón exhibits in his fiestas cortesanas.The elevated style of the play, based on the principles of duality and contrast in various dimensions, aims to focus the audience’s attention on the extraordinary [...]

Abstract

Sourced in Pedro de Ribadeneira’s Historia eclesiástica del scisma del reyno de Inglaterra (1588, 1593), Lope de Vega’s comedy, El amor desatinado, and Calderón de la Barca’s tragedy, La cisma de Ingalaterra, attenuate the monstrous portrayal of [...]

Abstract

This article studies the scenography designed by José Manuel Castanheira for El alcalde de Zalamea (2000) by Calderón de la Barca, a play by the National Classical Theatre Company directed by Sergi Belbel. The scenography has been conceived as a micro geography, inspired [...]