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 parallels with Shakespeare are suggested.
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 [...]
Taking up ideas forwarded by Henry W. Sullivan or Karl Vossler, we propose a study of Calderón’s comedies focused on moments of highest dramatic intensity and an analysis of the ways in which the steady growth of energy leads up to these great scenes. Many of them share a set of features and could be related to the poet’s lifelong existential concerns and philosophical obsessions. Whereas the end of the second jornada frequently shows the main character(s) in a state of epoché (an incapacity to discern truth from illusion) the third act takes them to a point where roles and false identities imposed by time and chance merge with the social roles assigned by the surrounding social world in accordance with a higher divine order.
Abstract
Taking up ideas forwarded by Henry W. Sullivan or Karl Vossler, we propose a study of Calderón’s comedies focused on moments of highest dramatic intensity and an analysis of the ways in which the steady growth of energy leads up to these great scenes. Many of them [...]
This work deals with a certain idea of game in Calderón, starting from two metatheatrical scenes, which consists in being actor of one-self. At first it is analysed how the game works from a dramatic point of view in El mayor encanto, amor. Then the conceptual progression of this idea in Los cabellos de Absalón is studied. Finally, the author puts the scope of this Calderonian idea of game into perspective by considering some contemporary focuses on mimesis and the necessity of theatre.
Abstract
This work deals with a certain idea of game in Calderón, starting from two metatheatrical scenes, which consists in being actor of one-self. At first it is analysed how the game works from a dramatic point of view in El mayor encanto, amor. Then the conceptual progression [...]
A comedy without long runs in «romance» like «relaciones», name used by contemporary people, would have been hard to fi nd. The management of the information which has to be provided to the other characters and to the audience is one of its main functions; but without doubt there are many other reasons apart from the plot that explain its being, ranging from the celebration of certain events of real life to the brilliance of the recitative capacity of the actors, or the audiences’ pleasure of listening to recitations of verses. Its use generated abundant topics, which were revealed by the characters themselves through-out metatheatrical commentaries. The set of «relaciones» found in Calderón’s comedies have been organised depending on their referencing to different factors: transmitter, receiver, context, content (themes and motifs), form and extratheatrical relations. The aim of this work is to facilitate an approach to the concept that the agents of Golden Age theatre had about «relaciones» and to gain further insights into Calderón’s comic resources.
Abstract
A comedy without long runs in «romance» like «relaciones», name used by contemporary people, would have been hard to fi nd. The management of the information which has to be provided to the other characters and to the audience is one of its main functions; [...]
El trabajo presenta los resultados de un análisis de los papeles cómicos en los autos de Calderón a partir de los nuevos datos proporcionados por las ediciones críticas de la Colección de autos completos. Se abordan especialmente las diferencias en las funciones del personaje cómico en las reescrituras (por ejemplo, en las dos versiones La vida es sueño), su parecido con los personajes demoníacos y su importancia como creadores del espacio dramático. También se profundiza en la acentuación paródica o en la inversión de paradigmas serios y en la comicidad metateatral (en contra de interpretaciones anteriores que negaban su presencia en los autos). Finalmente, se subraya la presencia de verdaderos lazzi o entremeses interpolados.The paper presents the results of an analysis of the comic roles in the autos of Calderón from the new data provided by the critical editions of the Colección de autos completos. The paper focuses on different functions of the comic character in the rewritings (for example, in the two versions of La vida es sueño), its resemblance to the demonic character and its importance as creator of the dramatic space. It also deepens in the parodic accentuation or in the reversal of serious paradigms and in metatheatrical comicity (against previous interpretations that denied their presence in the autos). Finally, the presence of lazzi or interpolated entremeses in the corpus of the autos is underlined.
Abstract
El trabajo presenta los resultados de un análisis de los papeles cómicos en los autos de Calderón a partir de los nuevos datos proporcionados por las ediciones críticas de la Colección de autos completos. Se abordan especialmente las diferencias en las funciones del personaje [...]
The Devil and his Dramatic Function in Calderon’s Autos Sacramentales 