17th Century Spanish Culture: Patronage and Baroque Theater

17th Century Spanish Culture and Patronage

The monarchy and privileged groups were devoted to the promotion of artistic activities, i.e., the practice of patronage. Official culture was primarily managed by universities, colleges, and academies. Minority artistic and scientific endeavors also emerged through salons, especially in major urban centers like Madrid, Seville, Valencia, and Barcelona.

Since the majority of the population was illiterate, information was transmitted orally and visually. This context explains the rise of religious instruction through sermons, images, and public festivals.

The Baroque Feast and Public Spectacle

The Baroque era was characterized by a strong tendency toward *spectacle* and display, which was particularly evident in:

• Public festivals and celebrations.
• Rituals of the court and public life.
• Religious ceremonies and processions.

The rise of the theater was the grand spectacle of the era, intrinsically linked to these public holidays and celebrations.

Theater in the 17th Century: Public and Courtly Stages

The Corrales de Comedias (Public Theaters)

Baroque representations were typically held in the corrales (yards or courtyards), initially formed by a block of houses on one side of which the stage was erected.

Structure of the Corral

The buildings surrounding the courtyard typically had four levels:

• Side Buildings: These had a ground floor and three upper floors. The first floor had barred windows; the second housed the last rooms; and the attics were small rooms.
• Building Opposite the Stage: This structure also had four floors:
  • Ground Floor: Contained the entrance and two Alojero rooms (where refreshments were sold).
  • First Floor: Housed the Cazuela (The Pot), reserved exclusively for women.
  • Second Floor: Home to the balcony of the council members and seven council chambers.
  • Top Floor: Reserved for private parties or gatherings.

The Stage and Audience

Behind the platform stood a wooden building adjoining the courtyard wall, known as the Stage House (Vestuario). This structure was also multi-tiered:

• The first floor (also called the clothes area) was used to represent scenes from different environments.
• The second and third floors were used as runners.
• The fourth floor housed the attic of the winches, which contained the machinery used to move props and create aerial effects.

Much of the audience sat on benches, side steps, in tarimones, or on stools, though there was also standing room.

Audience separation was strict: men occupied the yard and the attic, while women were confined to the Cazuela. The wealthy, both men and women, occupied the private chambers.

The Courtly Theater and Royal Spectacle

In parallel with the rise of the Corrales de Comedias, court theater developed, characterized by its extreme spectacular nature. Drama became a key factor in court festivals, starting with Philip III and increasing significantly under Philip IV, when Italian set designers began working in Spain.

Courtly performances were held in royal palaces and outdoors, notably at the great lake of the Buen Retiro park, which eventually opened the Coliseo del Buen Retiro.

These elaborate productions utilized:

• Dramatic changes of scenery.
• Sets designed in perspective.
• Aerial effects and complex machinery (robots).

The extravagance of the staging became increasingly apparent, often standing in stark contrast to the concurrent imperial, military, and economic decline. Following the death of Philip IV, spectacular mounts were suspended for nearly five years.