Abstract

In March 1968, Portuguese censors stopped the broadcast on public television —which was the only television network at the time— of Tirso de Molina’s comedy Las quinas de Portugal. This play stages the most important creation myth for the Portuguese nation: on the eve of the [...]

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

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

The author of this article analyses the medieval romance with the theme of La bella malmaridada, the woman unfaithful, and studies the evolution of this topic so far until the Sacramental play by Lope de Vega La adúltera perdonada. It is also considered a comedy by Lope with the [...]

Abstract

The present work shows that La conquista del alma, a comedy attributed to Calderón, is a «contrafactum» of El vencimiento de Turno, a comedy also attributed to Calderón and strictly rejected by himself. Moreover, unknown testimonies of the two comedies are invested and everything [...]

Abstract

Burlesque poetry was a resource that playwrights like Calderon used to renew worn mechanisms of comedies. In this sense, No hay burlas con el amor is a paradigmatic work, since Calderon, apart from creating humor by inverting dramatic formulas, used some resources of burlesque poetry, [...]

Abstract

This paper discusses the genre of a play by Calderon No hay cosa como callar. Critics usually define this play either as comedy or as tragedy. The work is in fact unusual because, under an apparently comical structure, it appears to be a serious work with an ending that leaves all [...]

Abstract

Con quien vengo, vengo is one of Calderon’s comedies practically unnoticed by critics. It is an urban love comedy developing in a plot where misunderstandings, identity changes, disguises, and the nocturnal are present. In this article, different resources used by the playwright [...]

Abstract

Women play a very important role in the Spanish comedy of the 17th century. Female characters control the play action, manipulating the rest of the characters in order to reach their goals. Plenty of these comedies reflect the opposition between the beautiful woman and the discreet [...]

Abstract

This article tries to explain some of Calderón’s basic comic skills and the tools employed to achieve his dramatic effects, dealing especially with chance. After a short introduction about different chance theories, it explains how polyvalent references, wrong identifications [...]