found spaces in spanish golden age drama

8/18/2019 Found Spaces in Spanish Golden Age Drama

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THD 300

Ethan Hollinger

11/17/2015

Dr . Bruce Burningham

What’s Lost s !o" #oun$%

&ncon'entional Theatre ()aces o* the ()anish +ol$en ,ge

n terms o* the nuts an$ -olts o* the theatre o* the ()anish +ol$en ,ge one o* the most

interesting things is the reliance on *oun$ s)ace. ulling *rom the stlings o* the trou-a$ours or

tra'eling )er*ormers the )rimar re'olution "ithin scener o* the ()anish +ol$en ,ge o*

Theatre "as not some ne" stage mechanics or scienti*ic machine to $ale the au$ience -ut

instea$ the utiliation o* *oun$ s)aces as )er*ormance 'enues. #rom the auto sacrementals to the

corrale to the cham-er )er*ormances each utilie$ a *oun$ s)ace in or$er to mae the most use

o* the staging. This re*lects a uniue sm-iosis "ithin the theatrical "orl$ o* the time $ue to the

nature o* integrating the )er*ormance "ithin the communit.

n general -e*ore -eginning an sort o* $iscussion it is im)ortant to -egin "ith a

$e*inition o* terms. !o" "hen taling a-out a theatre it is im)ortant to note that it’s not onl

re*erencing the )hsical s)ace or the )er*ormati'e tra$ition -ut also the e4)erience that is

ma$e6 as a "hole. ,rt is o*ten $e*ine$ as an imitation o* realit an$ theatre is no e4ce)tion to


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this rule. This realit is taen to its most -asic )laing on the human nee$ to communicate.

Thus the artistic en$ea'or o* creating theatre in its )urest *orm is the *un$amental relationshi)

that maes u) theatre% actor an$ au$ience. r in a more sim)listic sense someone to tal an$

someone to listen.

Ho"e'er in its imitations o* li*e theatre hel) to mo'e us - sho"ing us things that "e

ma other"ise -e inca)a-le o* realiing. t can sho" us not onl oursel'es -ut societ as a

"hole an$ )ro'i$e critiue an$ commentar on the su-8ects it $iscusses in a "a that is usuall

)ercei'e$ to -e more *rien$l an$ a)t to mae one thin than a heate$ $e-ate. Thus the role o*

the mo$ern theatre has the )otential to mae stri$es *or"ar$ on man *ronts through its su-tle

)olitical acti'ist shrou$e$ "ithin its artistic en$ea'ors. (uch has -een the case "ith Brecht’s

E)ic Theatre or Boal’s Theatre o* the ))resse$ using theatre as a means to *ight social

in8ustice an$ encourage $ialogue a-out the state o* a**airs in the "orl$ aroun$ the au$ience.

,*ter all Theatre is at -est a tric mirror that -oth re)resents an$ $istorts sho"ing as o*ten the

mths o* a societ’s sel*9image as its realities6 :+reer 3;3


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n entering a theatre o* an in$ a s)ectator "als into a s)eci*ic s)ace= one that is

$esigne$ to )ro$uce a certain reaction or series o* res)onses. The rece)tion o* that s)ace

-ecomes )art o* the total theatrical e4)erience an$ sets the tone *or "hat is to come. Ho" -ig is

the s)ace> What $?cor is use$> Ho" -right is it> What tem)erature is it> is there *oo$ or other

items *or sale> s there music or other soun$ e**ects )laing> These are 8ust a *e" o* the )ossi-le

$esign elements that ma mae u) a theatrical s)ace. ,s )re'iousl state$ theatre at its core is

the relationshi) -et"een storteller an$ au$ience. (o one o* the more interesting things to note is

the nature o* the au$ience area. ,re there seats> s there a se)arate area at all> ,re )er*ormers

mingling "ith the au$ience> These uestions "ill -egin to in*orm the au$ience "hether the are

merel o-ser'ers or in *act acti'e )artici)ants o* the e4)erience the are a-out to un$ergo.

n terms o* the theatre o* the ()anish +ol$en ,ge these i$eas are es)eciall )re'alent in

the theatre o* the time e'en though the "oul$ not ha'e recognie$ it as such $uring their o"n

time. Theatre "as )artaen in as a grou) acti'it9 "ith the in'itation to see the stor to engage

"ith it an$ e4)erience it rather than sit i$l -. Ho"e'er this "as not accom)lishe$ - calling

)eo)le out to come to a ne" s)ace s)eci*icall constructe$ *or the )ur)oses o* theatre -ut rather

instea$ -uil$ing *rom an$ a$a)ting to the *amiliar territor o* the communit. This is es)eciall

interesting to note in the construction o* the corrales9 that e'en "hen the "ere a$a)te$ to -e

long running theatres the "ere still not necessaril -uilt as *reestan$ing -uil$ings -ut instea$

as e4tensions o* the e4isting *rame"or aroun$ them. Three o* the "alls "ere use$ *rom e4isting


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houses surroun$ing a common suare. Then a semi9)ermanent stage an$ -ac$ro) "ere a$$e$ to

com)lete the s)ace.

!o" as )re'iousl $iscusse$ art imitates li*e6. ,n$ as such this is es)eciall telling as

to the t)e o* theatre -eing )er*orme$ re*lecting the communal nature o* the to"ns o* the time.

#armers "oul$ li'e in a 'illage an$ tra'el to their *arms each morning rather than the

segregation o* *arm *rom *arm as "e are more *amiliar "ith. ()anish culture as a "hole ten$s to

*ocus on the communit rather than the in$i'i$ual. ,n$ this is re*lecte$ in "ithin the theatre o*

the time )erio$. !o" grante$ in man "as ()anish theatre o* this time "as an e4tension o*

-oth go'ernment an$ church to re*lect an$ *urther their o"n interests. The @hurch the

monarch an$ other )ri'ilege$ grou)s that ha$ to $ra" to themsel'es sectors o* o)inion e4erte$

all )ossi-le )ressure to strengthen these e4tra9rational as)ects so the coul$ mae use o* them6

:Aara'all 12


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as such the tra$itional elements "ithin the artistic realms -egan to see a return to the *ore*ront

e'en i* the resurgence is )rimaril *or ulterior moti'es.

n s)ite o* these some"hat sinister machinations the general )o)ulace "ere content to

hel) the theatre thri'e. Theatre "as "ell atten$e$ an$ -ecame a common )ractice o* all le'els o*

societ instea$ o* -eing seen as an art *orm $e$icate$ to the aristocrac o* the time )erio$. E'en

though some $i$ not "ish to -e E'en court theatre "hich "as reser'e$ *or those "ho coul$

a**or$ it "as some"hat common)lace. ,n$ as "e ha'e alrea$ esta-lishe$ the i$ea o* the

theatre -eing a )o)ular communal e4)erience it -ears *urther stu$ that this $i**ere$ *rom

se'eral other )er*ormati'e tra$itions o* the time. Because o* the nature o* the )olitical an$

religious im)etus -ehin$ the theatre o* ()ain in this time it stae$ a"a *rom some o* the more

)olitical conte4ts that (haes)eare ten$e$ to $el'e into. ,n$ -ecause o* the em)hasis on

communal stor telling "ith )las *or the common )eo)le it some"hat a'oi$e$ the strict

!eoclassical rules o* #rench theatre. nstea$ ()anish theater ma$e use o* the communal nature

o* its )er*ormance tra$itions an$ utilie$ *oun$ s)aces in or$er to -est ser'e the communities.

Ho"e'er -e*ore "e $el'e into the s)eci*ics o* the ()anish +ol$en ,ge o* Theatre an$ its use o*

*oun$ s)aces it is im)ortant to esta-lish some o* the )re'ailing theories a-out the nature o*

*oun$ s)ace

6 theatre an$ the )schologies -ehin$ it

.

Aan mo$ern $irectors ha'e e4)erimente$ "ith the i$ea o* a *oun$ s)ace6 e'en "ithin

an actual theater . The )re'ailing i$ea -ehin$ this is that "e are in essence stri))ing a"a all o*

the e4traneous $etails an$ choosing "hich "e 'alue most to a$$ -ac in *or the sae o* the


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)ro$uction. n his -oo a)tl title$ The Em)t ()ace6 eter Broos sai$ it -est "hen

$escri-ing theatre at its core% can tae an em)t s)ace an$ call it a -are stage. , man "als

across this em)t s)ace "hilst someone else is "atching him an$ this is all that is nee$e$ *or an

act o* theatre to -e engage$.6 This $irectl ties -ac in to the i$ea that art imitates li*e.6 The

most sim)listic o* actions or s)oen "or$s are theatre regar$less o* time or )lace. But the

i$eolog -ehin$ the *oun$ s)ace is the i$ea that "e tae either a tra$itional theatre s)ace an$ use

it in a ne" "a. r "e re)ur)ose a $i**erent s)ace to create something ne" an$ $i**erent "here a

)er*ormati'e histor has not e4iste$. Thus the intrigue an$ inherent -eaut o* the *oun$ s)ace

is in its intrinsic sim)licit that allo"s theatre to return to its roots as o))ose$ to the e4tra'agant

)ageantr that seems to accom)an man o* the mo$ern theatrical en$ea'ors to$a. #or man

theatrical artists :es)eciall "ith those that -elie'e in the more )olitical nature o* theatre nstea$ utilie

a )er*ormance stle that allo"s ou to "his)er an$ ha'e that "his)er gro" into a )o"er*ul

'oice *or change an$ re*orm. Cet e'en "ithout the )olitical statement the stri))e$ $o"n -are

-ones )er*ormances that usuall ha))en in *oun$ s)aces len$ themsel'es to more intense

e4)eriences man times -ecause o* their connection to the communal e4)erience. t is a*ter all

a 'er $i**erent e4)erience to -e her$e$ into a "arehouse "ith no seats *or a )er*ormance than to

-e ushere$ to our seat in a tra$itional )roscenium theatre. Thus there’s an increase$ a))eal *or

a )er*ormance to esche" the i$ea o* the tra$itional e4)erience *or utter sim)licit an$

stortelling. Auch lie ancient stortellers aroun$ a cam)*ire the lure o* the *oun$ s)ace is that


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it )ro'i$es a share$ -on$ to e4)erience an$ $ream an$ $isco'er through the ees o* another%

(omething that ma not al"as ha))en in the realm o* -ig Broa$"a sho"s that -or$er on

theater o* cruelt in terms o* e4)osure an$ o'erstimulation.

n the con'entional mo$ern theatre )er*ormances that "e are accustome$ to the stage :or

"hate'er s)ace the )ro$uction "ill ultimatel inha-it


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to )er)etuate the uniue me 's. them $ichotom that )er'a$es most *orms o* mo$ern

entertainment. n man instances it is not e'en a uestion o* the communal us 's. them -ut

instea$ the em)hasis on the in$i'i$ual strengthens the th "all into an insurmounta-le -arrier that

)re'ents honest $ialogue an$ instea$ constrains theatre into the realm o* esca)ist entertainment.

ne )er*ormati'e tren$ in mo$ern theatre is to instea$ "or to"ar$s -reaing $o"n that "all is

to create situations an$ )er*ormances "ithout the th "all at all in'iting the communal

e4)erience instea$ o* the in$i'i$ual. The )er*ormance creates a neutral s)ace an$ then the

)er*ormers a$$ress the s)ectators $irectl as the "al tal an$ sit among them in a s)ace that is

colla-orati'e an$ mostl $e'oi$ o* the rigi$ *ormalit o* tra$itional theatrical e4)eriences.

n an a$$itional a$$e$ laer )er*ormances can esche" the tra$itional theatre s)ace

entirel in *a'or o* a *oun$ s)ace such as a church a "arehouse an o**ice -uil$ing or an other

s)ace "here the )rimar architectural )ur)ose is not a theatrical e4)erience -ut instea$ a )lace

that "ill -e trans*orme$ - the im)osition o* an au$ience an$ )er*ormers u)on it . ,$$itional

theatrical elements ma -e inclu$e$ -e it sets lighting or other tra$itional elements o* the

theatre. Cet o*ten it is the s)ace is set u) 8ust - clearing a large enough s)ace to accommo$ate

the au$ience. This choice is u) to the $irector an$ the artists themsel'es as the "ill no" "hat

-est suits the nature o* the )iece. Because the s)ace $ictates so much o* the emotional an$

sensor im)act o* the )er*ormance o*ten $irectors see s)aces that )ro'i$e the necessar im)act

on the au$ience "hen mounting a )ro$uction. This is one reason that man times ou see some

o* the elements o* theatricalit -lee$ing into the au$ience -e it the roots o* an onstage tree or


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the )roscenium arch looming o'er the au$ience or e'en actors a))earing *rom non9tra$itional

o**stage entrances. E'en the au$itorium lighting le'els an$ color tem)erature o* the lam)s

chosen are e**ecti'e communication tools to acclimate the au$ience an$ hel) them transition into

the "orl$ o* the )la. But these consi$erations occur "ith the i$ea o* the *ormal se)aration o*

au$ience *rom actor an$ "hether the au$ience shoul$ -e merel o-ser'ers or are also tase$

"ith acti'e )artici)ation "ithin the "or . ,lso the )ro$uction team must also $eci$e other

$etails a-out the in'asion o* the actors into au$ience s)ace an$ ho" that "ill im)act the

)ro$uction as "ell as the )schological im)act o* the *eel o* the s)ace an$ "hether it *eels o)en

or con*ine$ *rien$l or hostile or man other emotional in'ocations o* the au$ience’s )rimar

encounter "ith the "orl$ o* the )la an$ ho" it "ill hel) to ease them to"ar$s the "illing

sus)ension o* $is-elie* . Cet although the s)ace ma change much o* these *actors are still

)resent "hen a )er*ormance taes )lace "ithin a *oun$ s)ace.

ne o* the ma8or im)acts on our mo$ern theatrical i$eas to$a "as er +roto"si a

reno"ne$ $irector an$ one o* the )ioneers an$ cham)ions o* *oun$ s)ace theatre6. n an

inter'ie" "ith ean9Aarie Drot he creates an interesting $ialogue regar$ing the nature o* his

theories on )oor theatre.6 +roto"si a$'ocates *or the stri))ing $o"n o* theatre to the -are

essentials com)aring it as an antithesis o* cinema an$ more 'isual *orms o* entertainment .

ean9Aarie Drot% What stries ou straight a"a is the so-riet - that mean

that ou ha'e remo'e$ e'erthing "hich *or us seems to *orm )art o* the theatre.


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Cou ha'e remo'e$ the scener ou ha'e remo'e$ the mae u) ou ha'e

remo'e$ the ta)e recor$er ou ha'e remo'e$...e'erthing e4ce)t the theatre

ou coul$ sa.

+roto"si% We ha'e -een searching *or that *or a long time "hat is the sense o*

the theatre -ecause "hen "e o-ser'e the situation o* the theatre com)are$ "ith

cinema an$ tele'ision "e ha'e consi$ere$ that man o* the )urel technical

metho$s that are still no" Because in tele'ision in cinema "e can mae much

-etter arrangements change the )lace the action the location o* the action

trans*orm the actor 'ia costumes s)ecial e**ects arti*icial sno" arti*icial "in$

e'erthing mae u). ,ll that can -e )re)are$ in cinema or in tele'ision all that

can -e )re)are$ much -etter than in the theatre.

Jean-Marie Drot: Which attracts you to what you call, the poor

theatre.

+roto"si% Ces the )oor theatre the -are theatre a*ter all that "hich is not

theatre itsel* . Cou can sa that "hat is the rest> There remains onl the li'ing

man the li'ing man that is the actor "ho can trans*orm himsel* *or the others

the "itnesses an$ "ho can *in$ a sort o* relationshi) "ith these others "ith the

s)ectators. n the en$ all that is -eing $one no" is the nae$ man this actor . ,ll

that can occur at the same time music scul)ture scener all that...


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Jean-Marie Drot: But in the actor?

Jerzy Grotowski: In the actor, in his boy, there is the entire

theatre, you can say but a!ainst the rea"s about total theatre,

that is, the total theatre throu!h the total actor.#

+roto"si’s )oor theatre6 has se'eral com)onents% such theatrical con'entions as lighting

maeu) costume )ro)s an$ scener are minimie$ or eliminate$ entirel. But he goes still

*urther to sa that the onl essential )art o* theatre is the actor "ho creates it *or other . The

em)hasis rather than on s)ace or $esigne$ elements lies instea$ on the relationshi) -et"een the

actor an$ the au$ience an$ the communal e4)erience that this creates. ,s such an$ in or$er to

-rea the th "all the entire theatre -ecomes a )art o* the e4)erience an$ the entire theatre is

utilie$ as a )art o* the stage mechanism. This goes han$ in han$ "ith the nature o* *oun$ theatre

s)aces9 the esche"ing o* the com)le4 *or the sim)listic. t coul$ -e sa that this t)e o* theatre is

e'en returning to its true roots o* stortelling. @ountless others ha'e em-race$ similar things

inclu$ing Brecht’s conce)tualiations o* E)ic theatre or the #rench a'ant9gar$e mo'ement

to"ar$s theatre o* the a-sur$ -reaing $o"n the tra$itional *or the communit e4)erience.

+roto"si -egins his o"n -oo To"ar$s , oor Theatre6 - "on$ering "hat se)arates

the theatre *rom its chie* ri'als *ilm an$ tele'ision. He *in$s that the essential uniue element o*

theatre is contact "ith the li'ing organism6 9 the actor . (ince theatre can ne'er -e as 'isuall


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rich an$ la'ishl $esigne$ an$ lit as *ilm or tele'ision he -elie'es that theatre shoul$ -e

im)o'erishe$ in these regar$s an$ )utting the em)hasis -ac on the actor an$ the stortelling

"ithin the *oun$ s)ace. Thus +roto"si criticies contem)orar )ro$uctions rich theatre6

that attem)t to co) the scenogra)h techniues to create a cinematogra)hic *eel to the

)ro$uction "ith gimmics an$ e4tra'agance. There*ore it seems that he "oul$ much ha'e

)re*erre$ the theatre o* )re'ious eras noting that the sim)listic stortelling an$ general *eeling o*

communit create$ "ithin those artistic en$ea'ors. ne o* his contem)oraries eter Broo

:another acclaime$ $irector an$ *oun$ s)ace )ractitioner


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tol$ all re*lect the sim)licit o* the *oun$ s)ace as it ties -ac into the origins o* theatre. The

social or )u-lic ualit o* ()anish religious *aith together "ith a long an$ rich histor o*

)o)ular theatre an$ $ance tra$itions rea$il lent itsel* to the $e'elo)ment o* the *iesta a

$istinctl social rather than in$i'i$ual )henomenon:Broos 2


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o* stories that too utilie$ -oth the tra$itional Bi-lical stories as "ell as the stories o* the saints

o* the church. This *orm "as -orn out o* )ageant "agons that "ere initiall li'ing ta-leaus that

achie'e$ agenc an$ then *inall a $ramatic *orm. Cet the $ramatic *orm "as $esigne$ in a

series o* scenes that mo'e$ throughout the cit. Whene'er these theatrical )ageant "agons "ere

in use the sto))e$ in 'arious o)en s)aces a-out the cit an$ creating a share$ theatrical

e4)erience "ith the )eo)le that sto))e$ to "atch or gathere$ along the )ara$e route in

antici)ation. t’s also interesting to note the )rogressi'e nature o* the stor telling as one "agon

tol$ its stor an$ mo'e$ on "ith all o* the stories *itting into the gran$ larger arc. The

)er*ormers re)eate$ themsel'es as the mo'e$ throughout the cit et each sto) re)resente$ a

$i**erent s)ace "ith a ne" au$ience to interact "ith. The nature o* this interaction change$ -ase$

on the location "hile the )er*ormance itsel* $i$ not. ,n$ this is 'er much a *oun$ s)ace

contri-ution to the i$ea o* theatre that each au$ience is )art o* the changing s)ace an$ the

)er*ormance itsel* creates theatre "here'er it tra'els. ,s there is no )ermanent s)ace the s)ace

trul is a *oun$6 s)ace incor)orating multi)le locations *or the )er*ormances. Cet the tra'eling

*esti'ities encom)asses the entire communit "ith the atmos)here that encourages the

e4)erience.

(lo"l the ()anish )assion *or mo'ement an$ rhthm -egan to )la a role until there

"ere also ela-oratel choreogra)he$ $ances that ha))ene$ along the route. ,lthough se)arate

*rom tra$itional narrati'e that occurre$ $uring the autosacramentals the $ances "ere a slightl

$i**erent -ranch o* the same )er*ormance tra$itions that contri-ute$ to the *esti'al o* @or)us


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@hristi. These $ances "ere )er*orme$ in the cit’s cathe$ral an$ also at s)ots $esignate$ along

the )ara$e route. (ome o* the "ors )resente$ theatricalie$ 'ersions o* courtl -alls "hile

others "ere more )o)ular an$ $ramatic com)ositions -ase$ on religious mthological or

historical e'ents. T)icall such "ors ha$ aroun$ t"el'e $ancers an$ one *i*e9an$ $rum

)laer all o* "hom marche$ ami$ the cathe$ral’s clerg an$ then )er*orme$ at $esignate$ s)ots

in ma8or )laas or -e*ore such im)ortant centers o* religious or ci'ic authorit as the cit hall

an$ the cathe$ral :


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$ealt "ith the i$eas o* mistaen i$entit an$ the )ossi-ilit o* mi4e$ u) gen$ers men an$

"omen "ere -oth *or-i$$en *rom $ressing in the gar- o* the o))osite gen$er . Ho"e'er "omen

"ere a-le to -en$ the rules a -it as long as the "ore the tra$itional male $ress *rom the "aist u)

"hile "earing a sirt *rom the "aist $o"n. &nlie man other theatre communities in this time

)erio$ "omen "ere allo"e$ to )er*orm -ut the )ractice remaine$ highl contro'ersial until

15;; "hen a roal $ecree sti)ulate$ that onl "omen marrie$ to an e4isting male com)an

mem-er "ere allo"e$ to )er*orm on the stage. Cet e'en then one acting com)an "as le$ - a

"oman #rancisca Lo)e :Broos


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or thun$erous a))lause as $ictate$ - the "hims o* the au$ience. The nature o* the *oun$ s)ace

create$ something s)ecial instantl trans)orting the au$ience to the locales o* the )la et "hich

ha$ su$$enl -ecome localie$ through the s)ace an$ )eo)le aroun$ them. Aan times as "ell

the actors "ere no"n to mae im)ro'isational )olitical or religious ui)s *rom the stage. ,*ter

all anone associate$ "ith a theatre trou)e "as *air game to -e accuse$ o* )rostitution o* )ett

the*t i* not "orse. Thus it "as not uncommon *or the )er*ormers to tae im)ro'isational 8a-s at

local *igures "ho ma ha'e gi'en them trou-le $uring the time the "ere in to"n *or the run o*

the )er*ormances :Broos


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s)ace6 in "hich the constrictions o* the *ourth "all ma -e erase$ e'en *urther a*ter the

)er*ormance as the trou)e "oul$ interact "ith their hosts -e*ore $e)arting on their "a. The

court theatre $emonstrates the i$eals o* *oun$ s)ace in its close nit intimac in *orcing close an$

)ersonal relationshi)s -et"een the au$ience an$ actors as the actors man times stae$ *or

$inner or other e'ents to get to no" their hosts an$ )ossi-l garner $onations *or their

continue$ e**orts. n a$$ition -reaches in the *ourth "all "ere common causing the collision o*

stage an$ real s)ace into each other creating a some"hat chaotic an$ )la*ul *eel as the actors

calle$ u)on the au$ience at length to interact an$ continue the stortelling :G7


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celestial a)otheoses the sim)listic scenic elements charte$ the )rogression o* the )lot *rom

chaos to"ar$s or$er . This is es)eciall e'i$ent "ithin the )las o* @al$eron. But as a "hole

rather than em-racing ne" an$ creati'e settings to maintain interest instea$ the *ocus "as on

arresting architecture an$ ornamental $esign o* in$i'i$ual sets an$ es)eciall in the num-er

em)loe$ across a )la an$ the ra)i$it o* their changing -e*ore the s)ectators’ ees. With a

little closer stu$ "e o*ten *in$ genuine ingenuit an$ originalit on the )art o* -oth )la"right

an$ scenogra)her . t is as i* *ree$ *rom the constraints o* -oth the mthological )lots an$ the

talian Baroue staging tra$itions o* the stan$ar$ court machine )la -oth scenogra)hers an$

$ramatists "ere a-le to -e *ar more in'enti'e in their use o* stage s)ace an$ in the "as that the

ma$e this relate to an$ engage "ith real s)ace :G1


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&n*ortunatel as "ith all things the uest *or the -igger an$ -etter minimalie$ the

im)act as the court $eman$e$ ne" an$ more $namic entertainment. !orton’s ,ntholog notes

an e4cellent e4am)le% a $esign - @osimo Lotti "ho $esigne$ a stage that *loate$ a-o'e the

"aters o* a near- lae. , s)ecial sil'er chariot "as $ra"n across the sur*ace o* the lae - t"o

large *ish "hile a mountain in the -acgroun$ "as trans*orme$ into a )lace *or @al$eron’s Love

is the Greatest Enchantment . While the artistic res)onse to the insatia-le $esire o* the )o)ulace

$i$ lea$ to interesting $e'elo)ments as the a$o)te$ some talian scenogra)h techniues it also

meant the )er*ormances -ecame more an$ more )er*ormati'e an$ less a-out the $ialogue the

*oun$ s)ace hel)e$ to *oster . ,n$ this "as true not onl in the )er*ormances o* the court -ut

also the s)aces o* the corrale as it "as slo"l mo$ernie$ an$ re)lace "ith more an$ more o* the

talian theatrical stlings *or scenogra)hic techniues.

Within the general )er*ormati'e culture o* our mo$ern $a ()anish Theatre has -een

ostracie$ in the theatrical culture o* to$a as )eo)le -elie'e the )las to -e static an$ *lat in

light o* their strict co$e o* honor that seems to ha'e no -earing on our more mo$ern6

sensi-ilities. n a$$ition the strict religious *anaticism an$ re*usal to $el'e into the $arer

more human6 si$e o* the human con$ition also seem to -e ma8or $etractions *rom mo$ern

)ro$uctions. ,lso the -arrier o* translation has also )ro'en to -e $i**icult *or man as there is

some uestion in "hether or not the translations are *aith*ul to the original "or in terms o* not

onl its content -ut also its )oetic *orms. Ho"e'er $es)ite the challenges o* the a$a)tation o*

()anish Drama to the mo$ern age the theatre o* the si4teenth9 an$ se'enteenth9 centur ()ain

)ro'i$e$ the "orl$ "ith some o* its *irst glo-al $rama $ue to the s)rea$ o* the "ors throughout


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()ain’s e4tensi'e em)ire. While generall ha'ing -een ostracie$ in a )er*ormati'e nature in

recent times the theatre o* the ()anish +ol$en ,ge has -een getting an e4)an$e$ e4)lorator

inuisition )articularl "ith regar$ to the scenogra)hic inno'ations o* court theatre an$ the

much $i**erent stles o* acting that "ere utilie$ $uring the time )erio$. ,s al"as the aca$emic

si$e )re'ails continuing its longstan$ing research into the histor o* the time )erio$. n a more

general note the gro"ing aca$emic interest in staging allu$e$ to earlier ma "ell re*lect a

certain $issatis*action "ith hermeneutic criticismIs ten$enc o'er recent $eca$es to )ri'ilege the

)ro$ucti'e role o* the solitar rea$er at the e4)ense o* a )ro)erl rigorous historical

conte4tualiation o* the se'enteenth9centur te4t. This ten$enc that is to sa has sometimes

rise$ -lurring the *act that these te4ts "ere "ritten to -e )er*orme$ an$ to -e )er*orme$ more

to the )oint "ith a )articular historical au$ience in min$. t is there*ore to -e "elcome$ that so

man +ol$en-,ge $rama scholars shoul$ continue to recognie the *un$amental im)ortance o*

histor o* those inter"o'en conte4tual )ressures "hich me$iate the com)le4 relationshi)

-et"een the te4t its transmission an$ its articulation an$ rece)tion as )er*ormance :m


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historicall. But this is not 8ust a uestion o* histor "rit large the in$ o* histor

that in'estigates the drama's role in relation to great a**airs o* state to the role o*

the monarch to ()anish histor itsel* an$ so on. t has also im)ortantl

in'ol'e$ an increasing *ocus on $i**erent as)ects o* that countrIs social histor.

The re)resentation o* "omen in the come$ia *or e4am)le continues to e4cite a

goo$ $eal o* aca$emic interest as might -e e4)ecte$ o* a cor)us o* drama shot

through "ith the hea$ contra$ictions o* ()anish male )re8u$ice to"ar$ the

*emale se4. Then again the *act that "omenIs roles in the come$ia uniuel in

earl mo$ern theater "ere actuall re)resente$ - "omen has also )ro'e$ o*

great interest to *eminist critics. @ertainl one can $etect a gro"ing interest o'er

recent ears in the re)resentation in Golden9Age drama o* J'oicelessJ minorities

or marginal grou)s such as the moriscos :Auslims Jo**iciallJ con'erte$ to

@hristianit


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found spaces in spanish golden age drama

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