Abstract

Even though the experts on Calderón do agree that Coquín, a character of El médico de su honra, is an unsuccessfully comical character drowned by the tragic atmosphere of the play, our analysis of the character’s jokes, especially the one about the lady’s beard, reveals that [...]

Abstract

In some Calderón’s autos sacramentales the character of the Devil draws the plot and establishes the dramatic action as a demiurge. He elaborates plans and strategies to confuse the Man, but he always fails. This function approaches the autos to the metatheater. Finally certain [...]

Abstract

This article analyzes the production of  Calderon’s comedia Antes que todo es mi dama, directed by Adolfo Marsillach in 1987 and its rupture with the modern tradition of staging  Golden Age classical plays in Spain. This analysis studies the scenic and interpretative mechanisms [...]

Abstract

The article analyzes the onomastics of the Indian characters, the portrayal of the Inca Empire of Huáscar and Atahualpa, and the Christianization of Guacolda and Yupangui in Calderón’s La Aurora en Copacabana. Rational and proactive, these two characters realize the illegitimacy [...]

Abstract

Spanish Golden Age Culture is an age of secrets and secrecy. Among its playwrights, Pedro Calderón de la Barca shows the most complex comprehension of this subject. During the entirety of his career he refers to it in numerous comedies, creates metaphors concerning different aspects [...]

Abstract

The public enactment of secrecy is part of the Spanish Golden Age culture. This article presents a research project, which pursues three objectives: 
A study of secrecy as a core characteristic of Spanish Golden Age culture, on the basis of historiographical studies, sources [...]

Abstract

In many Calderón’s tragic plays, a room or a hall can turn into a space of violence, if locked or opened against the will of the character (mostly a woman) who lives in it. That is what we can observe in La gran Cenobia, El médico de su honra, El pintor de su deshonra, El mayor [...]

Abstract

This essay studies two myths that have been proposed as sources for La vida es sueño: the myth of Uranus castrated by Saturn and the story of Saturn dethroned by Jupiter. While both have to do with the confrontation between father and son (Basilio and Segismundo), each brings different [...]

Abstract

At the comedy, Hombre pobre todo es trazas (1628), Calderón uses a lot of resources that apparently only pretend to provoke the humor in the public. However, the economical situation, the mentality and behavioral transformations that means the «régimen dinerario» at XVIIth century [...]

Abstract

This paper challenges Don Cruickshank’s interpretation of Amor, honor y poder who speculates on the parallels between some play’s characters (Rey Eduardo, Flérida, Teobaldo) and historical personnages in 1623, when the play was performed in Madrid (Philip IV, María Anna of Spain, [...]