Abstract

Starting in 1650, Calderón de la Barca assigned a new role to the ‘loa’, elevating it artistically to the level of the ‘auto’. In America, Sor Juana Inés de la Cruz followed the Spaniard’s example by aggrandizing the panegyric loa and including the essential elements: allegorical characters, hermetic fragments, emblematic reminiscences and a sensorial setting. These loas are pieces that adhere to certain templates to glorify power and exalt authority. These templates are constituted of compositional paradigms that structure the design, in part or as a whole, of the stylistic and argumentative architecture, as Arellano correctly asserts about the Auto Sacramental but also applicable to Sor Juana’s last half of the 17th century panegyric loas. I propose an analysis of the five loas that the nun composed for Carlos the Second’s birthday that consists in identifying and comparing the compositional paradigms, to be able to formulate a three act structure based on the functional identification of the paradigms.

Abstract

The present work states the existence of a short theatrical piece represented in 1775 during the celebrations for the coming to power of Matías de Valdivieso as corregidor (crown official) of Piura. Prior to the transcription of the text, it summarizes and comments its contents, and identifies its features as typical of the post-Calderon courtier loa (introductory piece) gender, conceived not as a laudatory discourse but as a «miniature comedy». Also, it conducts an approximation to the circumstances in which the loa was represented and which explain its conservation in records of a judicial process because of insults against in Piura’s authorities.

Abstract

De la conmemoración en honor a san Fernando que tuvo lugar en toda España con motivo de su santificación en 1671, esta loa de Enrique Vaca de Alfaro (1635-1685) constituye un testimonio único de la celebración realizada en Córdoba por sus dos cabildos y se encuentra, hasta el momento, inédita. Resulta ser una loa cortesana escrita en romance de una extensión bastante considerable compuesta con la intención de vanagloriar los festejos cordobeses y, por ende, a la ciudad de Córdoba.

Abstract

Durante los años 1680 y 1684 sor Juana Inés de la Cruz compuso tres piezas de teatro breve dedicadas los virreyes de la corte novohispana. En esta oportunidad se observa la evolución de los elementos que le dan espectacularidad a las loas destinadas a festejar a la Virreina, al Virrey y al primogénito para entender cada pieza, como una unidad conformada por la estructura y el contenido, en el propio contexto en el cual fueron compuestas y escenificadas.