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Spanish Golden Age Theatre
Transcript of Spanish Golden Age Theatre
Spanish Golden Age
Period of Flourishing in the Arts and Literature in Spain
No official beginning:
Around 1492 and discovery of the New World
No official end:
1681 death of Pedro Calderón de la Barca
Ushered in the works of Miguel de Cervantes: Don Quixote
Spanish Golden Age
Lope de Vega wrote almost 1000 plays. His work rivaled Cervantes at the time (1562-1635)
Pedro Calderón de la Barca (1600-1681) : poet, writer and dramatist most famous for his 3 sacramental plays
His death marked the unofficial end to the Spanish Golden Age in 1681
Born while Lope de Vega defined the Golden Age
Continued to develop influential works during this time
Spanish Theatre Architecture
Corral de Comedias
Translates to "Theatrical Courtyard"
Open air theatre embracing three genres: tragedy, drama and comedy
Before the end of the 16th century there were no buildings devoted to theater in Spain.
comedias were instead held in the courtyard of houses or inns where a stage with background scenery was improvised along one of the sides.
The three remaining sides served as public galleries to the wealthy, with the remaining spectators watching the play from the open courtyard.
The first permanent theater of this type, Corral de la Cruz, was constructed in Madrid in 1579.
The stage was installed at one end of the court, against the back wall.
In front of the stage was the outdoor patio
The balconies and windows of the adjoining houses formed the quarters reserved for men and women of nobility.
The stage and lateral galleries were protected by an overhang.
The public came in masses for entertainments like this, whether comedy, drama or tragedy.
The season of performances usually began on Easter Sunday, ending on Ash Wednesday.
October to April the comedia began at two in the afternoon, in the spring at three and at four during summer, in order for all to finish before sunset.
The performance's duration was approximately four to six hours
Men and women could not sit together; men occupied the courtyard, side stands, the benches or the central stands, and the women watched the performance from their cazuelas above
Children were not allowed to attend.
It was forbidden to perform on weekdays, so the students would not be distracted.
A Bailiff was present at later performances in Madrid who ensured no noise or scandals ensued and that men and women were seperated.