"This collection of essays invites the contemporary reader to consider the works of Pedro Calderon de la Barca (1600-81), who became the most important and influential dramatist of the second period of the Spanish Golden Age, just as Lope de Vega (1562-1635) was for the preceding generation. A follower of Lope in his youth, Calderon, as a mature playwright, developed a drama all of his own, a drama that was highly conceptual, tightly knit, symbolic, and, in many cases, spectacular. Calderon's artistry in verbal and visual symbolism made the performance of his works a feast for both the senses and the intellect." "Until now, many of Calderon's critics have focused their attention on how the poetic devices, particularly metaphors and symbols, appearing in his plays represent his philosophy or his ideas. But as some scholars of Spanish Golden Age drama have argued, the study of Calderon's theater must take into account not only the literary text, but also the physical conditions of the stage, the elements used in the representation - decor, costumes, lighting, music - and the house dynamics at each performance. In other words, each play must be considered as a composition of the soul and body, of poetry and spectacle, in which both elements support, complement, and explain one another in performance." "This is the task that has been undertaken by the contributors to this volume. By focusing on the relationship between text and performance, they have highlighted several areas that are often overlooked in traditional text-based approaches. From different perspectives, they show how Calderon gives concrete shape to the concepts and tales from the Bible, theology, mythology, the Corpus Hermeticum, emblematic literature, philosophy, and realities of civic and domestic origin."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
... The Calderonian Stage , 107–32 . Curtius , Ernst Robert , “ Calderóns Kunsttheorie und die artes liberales ” , in Europäische Literatur und Lateinisches Mittelalter . 2nd ed . Bern : Francke Verlag , 1954. 541-51 . English ...
... The Calderonian Stage : Body and Soul ( Lewisburg : Bucknell University Press ) , pp . 55-68 Dessen , Alan C. , 1984 , Elizabethan Stage Conventions and Modern Interpreters ( Cambridge : Cambridge University Press ) Díez Borque , José ...
Alessandro Achillini (1463–1512) and his doctrine of “universals” and “transcendentals”: a study in Renaissance Ockhamism. Lewisburg: Bucknell UP, 1974. → Matsen, Herbert. “Alessandro Achillini (1463–1512) and 'Ockhamism' at Bologna ...
... the Calderonian stage. Yet in Calderon's comedias God's influence is often of paramount importance to the action. Orthodox theology states that the invisible God's will and revelation are made known to man from time to time through his ...
Es decir, si uno está preparado para un cambio de fortuna, cuando ocurre no le hará tanto efecto. 262. desconfianza, recelo. 263. sacar... SEGISMUNDO. Clotaldo. CLOTALDO. Señor... (En mí Aparte su crueldad prueba.) CLARÍN.
By then, the Spanish baroque stage had lost such greats as Pérez de Montalván (d. 1638), Ruiz de Alarcón (d. 1639), and Mira de Amescua (d. 1644). Inheriting the mantle of Lope de Vega, the man Miguel de Cervantes called “el monstruo de ...
Pörtl , Klaus . 1985. Das spanische Theater. Von den Anfängen bis zum Ausgang des 19. Jahrhunderts. Darmstadt : Wiss. Buchgesellschaft . Powell , John. S. 2000. Music and Theatre in France, 1600–1680 . Oxford : Oxford University Press .
... gardens to city life in China are entirely specific to China and reflect the historical capacity for change and renewal of its culture.” Michel Conan and Chen Wangheng, “Introduction,” in Conan and Chen, eds., Gardens, City Life, and ...
... La estatua de Prometeo , is a reflec- tion of celestial bipolarity , a Manichean notion that has survived in the esoteric , hermetic tradition of emblems and mythological treatises . In conclusion , La estatua de Prometeo can be ...
Drama of a Nation: Public Theater in Renaissance England and Spain. Ithaca, NY: Cornell University Press, 1988. Heavily Marxist in orientation. Argues that Spanish and English drama shared a distinct linkage to public theaters.