References
- Carpio , Lope de Vega . 1970 . El castigo sin venganza , Edited by: Kossoff , David . 242 Madrid : Castalia .
- Scott , Virginia . 1990 . The Commedia dell'Arte in Paris, 1644-1697 , 15 – 16 . Charlottesville : Univ. Press of Virginia . Alberto Naseli, or Ganassa as he was called, opened in Paris in 1571 but was dosed because of pressure from the Confrérie de la Passion (see below); he arrived in Spain in 1574 and was important in the development of theatre there. See
- McKendrick , Melveena . 1989 . Theatre in Spain, 1490-1700 , 47 – 50 . Cambridge : Cambridge U. P. .
- Murata , Margaret . 1981 . Opera for the Papal Court, 1631-1668 , 1 – 11 . 50 Ann Arbor : UMI Research Press .
- Stein , Louise . 1993 . Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain , 124 – 25 . 133 – 37 . Oxford : Clarendon .
- Sullivan , H. W. 1983 . Calderón in the German Lands and the Low Countries: His Reception and Influence, 1654-1980 , Cambridge : Cambridge U. P. .
- Scott . The Commedia dell'Arte in Paris 145 – 46 .
- D'Antuono , Nancy L. 1981 . lape de Vega y la Commedia dell'Arte: temas y figuras' . Cuadernos de Filología [Valencia] , III : 261 – 78 .
- D'Antuono . 1999 . “ La comedia espanola en Ia Italia del siglo XVII: Ia Commedia dell 'arte' ” . In La comedia espanola y el teatro europeo del siglo XVII , Edited by: Sullivan , Henry W. 1 – 36 . London : Tamesis .
- 1993 . ' "Vicedioses, pero humanos": el drama del rey' . Cuadernos de Historia Moderna , XIV : 103 – 31 . For example, Antonio Feros points out that the frequent appearance of involved, accessible kings on stage in the corroies of Madrid may be a critical or compensatory reflection of the increasing inaccessibility of Hapsburg monarchs
- Elliott , J. H. 1989 . Spain and its World, 1500-1700. Selected Essays , 142 – 61 . New Haven/London : Yale U. P. .
- Greer . 1991 . The Play of Power. Mythological Court Dramas of Calderón de la Barca , Princeton , NJ : Princeton U. P. .
- Greer . 1990 . "Bodies of Power in Calderón: El nuevo palacio del Retira and El mayor encanto, amor' ” . In Conflicts of Discourse: Spanish Literature of the Golden Age , Edited by: Evans , Peter . 145 – 65 . Manchester : Manchester U. P. .
- Greer . 1991 . “ '"Authority" in Comedia Editions: Tirso de Molina's Santa Juana' ” . In Editing the 'Comedia', II , Michigan Romance Studies 11 Edited by: McGaha , Michael and Casa , Frank P. 67 – 95 . Ann Arbor : Michigan Romance Studies, Univ. of Michigan . Valencia and Sevilla were both important in the developing stages of Spanish theatre, and some Valencian works-e.g., Rey de Artieda's Los amantes and Gaspar de Aguilar's El mercader amante-reflect, I believe, the more bourgeois and mercantile environment of that city. Furthermore, a comparison of Tirso's two versions of the first part of his Santo Juana. trilogy seems to indicate that he wrote one version for a courtly audience in Madrid and another, shorter, more direct and melodramatic, that toured provincial cities (see
- Mullaney , S. 1988 . The Place of the Stage. License, Play and Power in Renaissance England , 7 9 Chicago : Univ. of Chicago Press .
- Shergold , N. D. 1967 . A History of the Spanish Stage from Medieval Times until the End of the Seventeenth Century , Oxford : Clarendon .
- Alien , J. J. 1983 . The Reconstruction of a Spanish Golden Age Playhouse. El Corral del Principe 1583-1744 , Gainesville , Florida : Univ. Press of Florida .
- Haza , José Maria Ruano de la . 1991 . “ 'Los corrales de comedias de Madrid en el siglo XVII' ” . In Teatros del Siglo de Oro: corrales y coliseos en Ia Peninsula Ibérica, Cuadernos de Teatro Clásico , Vol. VI , 13 – 67 . Madrid : Companía Nacional de Teatro Cläsico .
- Middleton , T. 1983 . “ 1 urbanisme madrilène y la fundación del Corral de la Cruz' ” . In V Jornadas de Teatro Clásico Espanol, Almagro, 1982 , 136 – 67 . Madrid : Ministerio de la Culture .
- Shergold . 1981 . A History of the Spanish Stage, 185, and Pedro de Répide, Las colles de Madrid, , 4th ed. , 533 Madrid : Afrodisio Aguado . revised by Federico Romero
- Molina , Tirso de . 1968 . Obras dramáticas complétas, , 2nd ed. , Edited by: de los Rios , Bianca . Vol. III , 1263 Madrid : Aguilar .
- Chambers , E. K . 1923 . The Elizabethan Stage , 4 vols , Oxford : Clarendon . The Place of the Stage, 27. The development of this system is recorded in detail in, I, chapters 8-9
- Chambers . The Elizabethan Stage Vol. II , 475 – 523 . 'Private' is a somewhat misleading term, as the theatres served by the boys' companies were open to a paying public. They drew a smaller, and much more affluent audience-necessarily, since their lowest-price ticket cost six times the one-penny entrance to the public theatres-and generally performed a different type of play. The Burbage brothers, with Shakespeare and other leading sharers in their company, purchased in 1608 the private Blackfriars theatre (inside the city walls but until that year outside its full jurisidiction as a former monastic establishment), which they subsequently operated as a public theatre along with the Globe. Their troupe, the Lord-Chamberlain-King's men, was the most powerful and prestigious company of players, and the Blackfriars continued to draw a sophisticated audience, while the Red Bull far to the north served coarser fare to a more vulgar audience. See
- Bentley , G. E. 1986 . The Professions to Dramatist and Player in Shakespeare's Time, 1590-1642 , Vol. I , 9 Princeton , NJ : Princeton U. P. . ; II, 14-15, 47
- Strong , Roy . 1984 . Art and Power. Renaissance Festivals, 1450-1650 , 154 Berkeley : Boydell Press .
- Christout , Marie-Françoise . 1991 . “ Théâtres de Paris avant 1791' ” . In Les Théâtres de Paris , Edited by: Latour , Geneviève and Claval , Florence . 23 – 24 . Paris : Délégation à l'Action Artistique de la Ville de Paris .
- Wickham , Glynne . 1985 . A History of the Theatre , Cambridge : Phaidon .
- Lough , John . 1957 . Paris Theatre Audiences in the Seventeeth & Eighteenth Centuries , London : Oxford U. P. . ; and Scott, The Commedia dell'Arte
- McKendrick , Melveena . Theatre in Spain, 1490-1700 202 She provides an excellent summary of the moralist controversy. The moralists convinced Felipe II, who closed the theatres shortly before his death in 1598; they were reopened after the requisite period of mourning, however, and although theatrical performances were suspended in subsequent periods of mourning or national crisis, the longest closure was that between 1644 and 1651. Pragmatic concerns and the demand for theatre always outweighed the moralists' objections in the long run
- Chambers , E. K. , ed. 1907 . “ The Remembrancia' ” . In Dramatic Records of the City of London , 77 London : The Malone Society . (quoted in Mullaney, The Place of the Stage, 51)
- Mullaney . The Place of the Stage 51 – 54 .
- Carpio , Lope de Vega . 1986 . Acting is Believing , Edited by: McGaha , M. San Antonio , Texas : Trinity U. P. . Independently and almost simultaneously with Lope, the German Jesuit Jakob Bidermann wrote in 1618 a Latin school drama based on the same legend. Rotrou, who reworked a number of Lopean dramas for the stage of the Hôtel de Bourgogne in the early seventeenth century, recast Lope's play as Le Veritable St Genest. See
- Rotrou's , Jean . 1907 . Saint Genest and Venceslas , Edited by: Crane , Thomas Frederick . Boston : Ginn & Company .
- Shergold . A History of the Spanish Stage 177 – 85 .
- Bentley . The Professions to Dramatist and Player Vol. 1 , 145 – 96 . A similar system was already operating in England, where censorship was entrusted to a royal official, the Master of the Revels (see
- McKendrick . Theatre in Spain, 1490-1700 178 – 79 .
- Ruano . "Los corrales de comedias de Madrid en el siglo XVII' . 27 41
- McKendrick . Theatre in Spain, 1490-1700 219 233 The famous gracioso Cosme Férez (Juan Rana) enjoyed a royal pension for many years, and Felipe IV's weaknesss for actresses is well known. Calderón earned 2,200 reales for writing a 1638 court play, which as, points out, was equivalent to fifty pounds at a time when one hundred pounds was considered a comfortable annual income. Companies were also paid for particulares, or private performances in palace theatres, but payments of palace debts were not speedily settled, and we cannot presume a net benefit to the companies over corral performances.
- Bentley . The Professions to Dramatist and Player Vol. II , 9 believes that frequent court performances under James I and Charles I not only increased the incomes of the principal London companies, but also figured in the gradually improving social acceptibility of actors before 1642
- Bentley . The Professions to Dramatist and Player Vol. II , 8 – 9 . 18 Mullaney, The Place of the Stage, 53-54
- McKendrick . Theatre in Spain, 1490-1700 188
- Scott . The Commedia dell'Arte Vol. 322&23 , Automatic excommunicaton of actors was lifted by Louis XIII in 1641, but reinstituted in 1654; it did not apply to the Italian troupe in Paris
- McKendrick . Theatre in Spain, 1490-1700 193 The configurations and playing spaces of public theatres in Madrid and London were remarkably similar, both having evolved from performances in the oblong spaces of courtyards and palace dining halls. In all three capitals, the standard audience arrangement was that of a patio (pit, or parterre) where male spectators stood for the basic entrance price, while those willing and able to pay more for seats occupied hierarchically arranged benches and boxes around the sides, facing the stage, and even on the sides of the stage itself. One important difference in the corroies was the presence of a cazuela for women, with a separate entrance to protect them from harrassment on entering and exiting and an apretador to pack them in. The corroies also contained a tertulia section set apart for the clergy, who were regular spectators at the comedia, despite repeated bans on their attendance. For recent comparative work, see John Orrell, "Spanish Corroies and English Theaters'; John Varey, "Memory Theaters, Playhouses, and Corroies de Comedias"; and
- Alien , John J. 1991 . “ The Disposition of the Stage in the English and Spanish Theaters' ” . In Parallel Lives. Spanish and English National Drama, 1580-1680 , Edited by: Louise and Fothergill-Payne , Peter . 23 – 38 . 39 – 53 . 54 – 72 . Lewisburg : Bucknell U. P. .
- Harbage , Alfred . 1941 . Shakespeare's Audience , New York : Columbia U. P. .
- Lough , John . 1957 . Paris Theatre Audiences in the Seventeenth and Eighteenth Centuries , London : Oxford U. P. .
- McKendrick . Theatre in Spain, 1490-1700 193
- Scott . The Commedia dell'Arte 97 – 98 .
- 1953 . Introduction al teatro religioso del Siglo de Oro. La evolution del auto sacramental: 1500-1648 , 35 Madrid : Ediciones Anaya .
- Shergold , N. D. and Varey , J. E. 1961 . Los autos sacramentelles en Madrid en la época de Calderón, 1637-1681: estudio y documentas , xx Madrid : Ediciones de Historia, Geografïa y Arte .
- McKendrick . Theatre in Spain, 1490-1700 225
- Walker , Hillam . 1990 . Molière, , rev. ed. , 110 Boston : Cambridge U. P. . Calderón's court spectacles also played in the corroies in simplified form
- Chambers , E. K . The Elizabethan Stage Vol. I , 205 – 06 .
- Maravall , José Antonio . 1980 . La cultura del barroco: análisis de una estructura histórica, , 2nd ed. , Barcelona : Editorial Ariel .
- 1985 . Drama of a Nation: Public Theater in Renaissance England and Spain , Ithaca : Cornell U. P. .
- Weimann , Robert . 1992 . "Representation and Performance: The Uses of Authority in Shakespeare's Theater' . PMLA , CVII : 497 – 510 .
- Greer . 1995 . ' "La vida es sueno---¿0 risa?" Calderón Parodies the Auto' . BHS , LXXII : 313 – 25 .
- Dollimore , J. and Sinfield , A. , eds. 1985 . “ 'Invisible Bullets: Renaissance Authority and its Subversion, Henry IV and Henry V ” . In Political Shakespeare: New Essays in Cultural Materialism , 18 – 47 . Ithaca : Cornell U. P. .
- 1988 . Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England , Berkeley : Univ. of California Press . More recently, Greenblatt has attempted to posit a less monolithic and disciplinary model of power through alternative metaphorical constructions based on the idea of circulation and exchange of 'social energy'. See his
- 1990 . "Negotiation and New Historicism' . PMLA , CV : 477 – 90 . T. A. Leinwald, in a reading of Much Ado about Nothing and Measure for Measure, has suggested replacing the disciplinary and contestatory model of power relations between authority and subject that the subversion/containment binarism presumes with a model based on the idea that power relations operate through negotiation and dialogue in multiple micro-encounters at all levels of the hierarchy of authority
- Jones , Michael . 1984 . "Five Liars: French, English and Italian Imitations of La verdad sospechosa' . Journal of the Australasian Universities Language and Literature Association , LXII : 192 – 207 . For a detailed comparison of these two plays and several other versions, English and Italian, see
- Cohen . Drama of a Nation 195 – 218 .
- Greer . 1994 . “ The (Self)Representation of Control in La dama duende' ” . In The Golden Age Comedia: Text, Theory, and Performance , Edited by: Ganelin , Charles and Mancing , Howard . 87 – 106 . West Lafayette , Indiana : Purdue U. P. .
- Greenberg's , Mitchell . 1989 . A New History of French Literature , Edited by: Hollier , D. 273 Cambridge , Mass. : Harvard U. P. . article in
- Molière . 1999 . Le Festin de pierre [Dom Juan]. Édition critique du texte d'Amsterdam [1683] , Edited by: DeJean , Joan . 117 Genève : Librairie Droz . Don Juan's free-thinking irreverence was not an addition original to Molière; it developed through the two Italian and three French versions that mediated between Tirso and Molière's renditions of the story, and, according to Joan DeJean, Molière's contemporaries attributed the 'deux et deux' statement to Prince Maurice of Nassau, note 1)
- Shadwell's , Thomas . 1987 . The Libertine. A Critical Edition , Edited by: Pellegrin , Helen . Vol. xv , xlii – lxv . New York/London : Garland . Thomas Shadwell would later carry it to an extreme for the Restoration English stage in The Libertine, first played at the Dorset Garden Theatre in 1675, in which Don Juan and two added alter egos are portrayed as libertine cavaliers, akin to those surrounding Charles II, who espouse a popularized Hobbism or Epicureanism as justification for their extreme individualism and amoral pleasure in seduction, rape, incest, robbery and murder. See
- Loftis , John . “ 'La comedia espanola en Ia Inglaterra del siglo XVII ” . In La comedia espanola y el teatro europeo Edited by: Sullivan , Henry W. 101 – 19 .
- Villanueva , Francisco Marquez . 1998 . "Perspective hispana de Don Juan en Goldoni y Molière' ” . In Studies for Dante. Essays in Honor of Dante della Terza , Edited by: Fido , Franco . 209 – 25 . Florence : Cadmo .
- Howarth , W. D. 1982 . Molière: A Playwright and his Audience , Cambridge : Cambridge U. P. . Various critics read it as a continuation of his quarrel in L'École des femmes and Tartuffe with the false and anti-theatrical dévots; an attack against the abusive power of nobles such as his former protector, the Prince de Conti; a collective expiation of the anxiety of a society under absolute monarchy yet torn by religious controversy; a degradation of the self-assertive Don Juan to the level of his equally duplicitous enemies; or the professional challenge of proving the power of spectacle and theatrical illusion in dramatizing very real and profound human concerns. See Walker, Molière;
- Albanese , R. 1976 . Le Dynamisme de la peur chez Molière: une analyze socio-culturelle de 'Dom Juan', 'Tartuffe' et 'L'Ecole des femmes' , University , Miss. : Romance Monographs .
- Gossman , L. 1963 . Men and Masks. A Study of Molière , Baltimore : Johns Hopkins U. P. .
- DeJean's , Joan . “ 'Introduction' Molière ” . In Le Festin de pierre 8 – 9 . Le Festin was the only Molière play that remained unpublished at his death, and the 1682 edition in France was severely scrutinized by censors, with differing degrees of censorship affecting different copies. The most complete extant text that was published in Amsterdam in 1683 was unknown in France until the second decade of the nineteenth century. See DeJean's introduction to the same edition
- Certeau , Michel de . 1988 . The Writing of History, trans. Tom Conley , 176 New York : Columbia U. P. .
- Ibid., 5.
- Netanyahu , B. 1995 . The Origens of the Inquisition in Fifteenth-century Spain , New York : Random House .
- Beverley , John . 1987 . Del 'Lazarillo'al sandinismo: estudios sobre la función ideológica de la literatura espanola e hispanoamericana , Minneapolis , Minn. : The Prisma Institute . particularly chapter 2, "Lazarillo y la acumulacion originaria'; and
- Cavillac , Michel . 1983 . Gueux et marchands dans le 'Guzman de Alfarache' (1599-1604): roman picaresque et mentalité bourgeoise dans l'Espagne du Siècle d'Or , Bordeaux : Éditions Bière .
- 1990 . "Lacan and Calderon: Spanish Classical Drama in the Light of Psychoanalytic Theory" . Gestes , X : 39 – 55 .
- Nicholson , Eric O. 1993 . “ The Theater' ” . In A History of Women. Vol. II: Renaissance and Enlightenment Pardoxes , Vol. II , 295 – 314 . Cambridge , Mass. : Belknap Press of Harvard Univ. . See in particular, the intelligent and broadly comparative study, including La Celestina and a goodly number of Spanish dramas, by
- Mariscal , George . 1991 . Contradictory Subjects: Quevedo, Cervantes, and SeventeenthCentury Spanish Culture , 27 Ithaca : Cornell U. P. .
- Winkler , J. and Zeitlin , F. , eds. 1990 . "Playing the Other: Theater, Theatricality and the Feminine in Greek Drama' ” . In Nothing to Do with Dionysius: Athenian Drama in its Social Context , 63 – 96 . Princeton , NJ : Princeton U. P. .
- Fox , Dian , Sieber , Harry and ter Horst , Robert , eds. 1989 . “ 'Gutierre's Anxiety of Identity in El medico de su honra' ” . In Studies in Honor of Bruce W. Wardropper , 105 – 24 . Newark , Delaware : Juan de la Cuesta . See her superb article
- 1998 . Tragedy and the Construct Self: Considering the Subject in Spain's Seventeenth-Century Comedia' . BHS (Liverpool) , LXXV : 273 – 92 . Richard J. Pym reaches a similar conclusion, albeit one not centred on gender, in his re-examination of the nature of GoldenAge tragedy. Says Pym: The real tragic focus of these plays lies in their relentless foregrounding of the deficit inherent in the culturally negotiated but mutilating constructions of self embodied by their various protagonists'