El Jardín: Espacio Del Amor en La Comedia Palatina. El Caso De Tirso De Molina

Zugasti, Miguel Zugasti

doi:10.31819/9783865279279-026

Cited by 3 publications

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“…In Spanish criticism the term comedia palatina acquired currency since the early publication of Weber de Kurlat (1975). Numerous studies, both devoted to the subgenre and to individual playwrights, have followed, delineating a repertoire of characteristics and a corpus of "palatine plays" (see Oleza 1997;Yoon 2002;Zugasti 2003Zugasti , 2013Zugasti , 2015Rodríguez García 2015;Zugasti and Zubieta 2015;Gutiérrez Gil 2021). On the English side, this alleged subgenre is more problematic.…”

Section: Notesmentioning

confidence: 99%

“…He even proposes an incipient catalogue (1999: 134-138). More recently, Zugasti (2003 and2015) has proposed the name of comedia palatina seria (which I have adopted here) for Spanish palatine tragicomedy while reserving the name of comedia palatina cómica to term the kind of Spanish palatine comedy which would assuredly match a subset of Fletcherian romantic comedies as practiced by Beaumont and Fletcher, Massinger, Shirley, etc. Accomplished instances of palatine tragicomedy, to mention just a few English and Spanish examples, would be King and No King (Beaumont and Fletcher), The Great Duke of Florence (Massinger), The Doubtful Heir (Shirley), La ocasión perdida (Lope de Vega), Amar por razón de estado (Tirso de Molina) and Cuánto se estima el honor (Guillén de Castro).…”

Section: Notesmentioning

confidence: 99%

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The Royal Master and El villano en su rincón Revisited: More than the Motif of the Reluctance to see the King

Garcia García

2023

Miscelánea

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In 1890, in an article titled “Die Nachhamung spanischer Komödien in England unter der ersten Stuarts”, the German scholar A.L. Stiefel solidly demonstrated the clear textual relationship between James Shirley’s The Opportunity and Tirso de Molina’s El castigo del penseque. In 2003, following an intriguing footnote in that article, which pointed to five more dramatic Spanish sources, I postulated another transtextual relationship concerning Shirley’s The Royal Master and Lope de Vega’s El villano en su rincón. My analysis focused on the specific motif that he named “the reluctance to see the king” in the character of the English fool Bombo and the Spanish farmer Juan Labrador. However, after a review of the two plays, it seems clear that there are more textual relationships than the one disclosed in my previous study. Relying on Gerald Genette’s category of transtextuality, this article widens further the scope of the motif, explores its relationship with the topic of court versus country life, unearths architextual transferences of elements of plot and characters, proposes affinities based on the palatine affiliation of both plays and the similarities in the use of the dramatic method of matchmaking, and, finally, reveals the creative use that the Caroline playwright made of his Spanish source.

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Section: Notesmentioning

confidence: 99%

Section: Notesmentioning

confidence: 99%

The Royal Master and El villano en su rincón Revisited: More than the Motif of the Reluctance to see the King

Garcia García

2023

Miscelánea

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Elementos mitológicos, palatinos y de capa y espada en Fineza contra fineza, una fiesta cortesana de Calderón

Quintanar¹

2021

JESO

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RESUMEN: Se estudia la caracterización genérica de Fineza contra fineza, una fiesta cortesana de Calderón estrenada en 1671. Aunque su condición de comedia mitológica resulta evidente por la aparición del dios Cupido, el tiempo mítico de la acción y su ubicación en la Grecia clásica, en su trama se registran abundantes elementos palatinos (personajes nobles, un amor cortés y refinado, una exigente ética del honor, el conflicto entre lealtad, amistad y amor, y diversas fórmulas de enredo: confusión de identidades, fingimientos, disimulaciones, secretos) y de capa y espada (un paso de “fantasma”, la función cómica de los personajes nobles y escenas de metateatro jocoso). Ello muestra el extraordinario dominio de las convenciones de los distintos géneros dramáticos por parte de Calderón, pues fue capaz de combinarlas sabiamente en esta comedia. ABSTRACT: This paper studies the generic characterization of Fineza contra fineza, a Calderón´s courtly festival performed for the first time in 1671. Although the classification as a mythological comedy is evident from the appearance of the god Cupid, the mythical time of action and the location in classical Greece, in the plot there are many palatine elements (noble characters, a courtly and refined love, a demanding ethic of honour, the conflict between loyalty, friendship and love, and some techniques of entanglement: identity confusion, simulations, dissimulations, secrets) and also typical features of cloak and sword plays (a “fantasma” scene, the comic role of noble characters and humorous metatheatre). This shows the extraordinary command of the conventions of all dramatic genres by Calderón, since he was wisely able to combine them in this comedy.

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Diseño y proyección del espacio dramático en "Los amantes" de Andrés Rey de Artieda

Raposo

2015

Dicenda, Cuad. Filol. Hisp.

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RESUMENEn el presente trabajo se analiza la manera en la que el dramaturgo valenciano Andrés Rey de Artieda diseñó los diferentes espacios dramáticos por los que transcurre la acción de su única pieza teatral conocida: Los amantes. Compuesta poco después de 1577, se trata de una obra deudora de los parámetros dramatúrgicos de su tiempo, pues el componente literario del texto dramático predomina claramente sobre el espectacular. Estamos ante un tipo de teatro fundamentado en la palabra y muy poco en lo visual. Sin embargo, ya se perciben en el texto ciertos rasgos de innegable modernidad, que es el asunto que me ha interesado a la hora de acercarme a él. Mi objetivo será demostrar el dinamismo con el que se producen los cambios de espacio dramático a lo largo de la trama argumental para subrayar que Rey de Artieda tenía ya asumidas algunas de las innovaciones que desembocarán en el teatro nacional español unas décadas más tarde. Palabras clave: Rey de Artieda, Los amantes, teatro renacentista, espacio dramático, puesta en escena. ABSTRACTThis paper deals with the way in which the Valencian playwright Andrés Rey de Artieda designed the different dramatic spaces where the action of his only known play (entitled Los amantes) takes place. Written soon after 1577, it is a play very tied to the dramatic mechanisms of its time, since the literary component of the dramatic text clearly dominates the spectacular one. We are facing here a kind of drama based on the word and very little on the visual effect. Nevertheless, we can find in the text certain features of undeniable modernity, which is the matter that interested me when I decided to study it. My aim will be to demonstrate the dynamism with which the dramatic space changes occur throughout the plot in order to ____________ 1 Este trabajo se incluye en el marco del proyecto de investigación Escena Áurea (I). La puesta en escena de la comedia española de los Siglos de Oro (1570-1621: Análisis y base de datos, aprobado por el Ministerio de Economía y Competitividad con la referencia FFI2012-30823. Una primera versión de este trabajo se presentó en el V Congreso Internacional de la Sociedad de Estudios Medievales y Renacentistas.

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El Jardín: Espacio Del Amor en La Comedia Palatina. El Caso De Tirso De Molina

Cited by 3 publications

References 0 publications

The Royal Master and El villano en su rincón Revisited: More than the Motif of the Reluctance to see the King

The Royal Master and El villano en su rincón Revisited: More than the Motif of the Reluctance to see the King

Elementos mitológicos, palatinos y de capa y espada en Fineza contra fineza, una fiesta cortesana de Calderón

Diseño y proyección del espacio dramático en "Los amantes" de Andrés Rey de Artieda

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