Baroque Theater and Lope de Vega's Dramatic Innovations

Baroque Theater: Performance Spaces and Structure

Baroque performances were primarily held in corrales de comedias, open-air courtyards formed by a block of buildings, with the stage typically erected on one side. The basic structure of these theaters was as follows:

Courtyard Buildings and Seating

• The side buildings of the courtyard typically had a ground floor and three upper floors.
• The ground floor often featured barred windows. The rooms on the second and top floors, known as aposentos or lofts, were small private boxes.
• The building opposite the stage also had four floors:
  • The first floor housed the cazuela (a women's seating area).
  • The second floor featured the balcony for councilors and seven private rooms.
  • The upper floors included a general gathering area, and behind the stage, the costume room.
• Much of the audience sat on benches in the side stands (gradas), on stools near the stage (taburetes), or in the windows of surrounding buildings. Standing room was also available in the courtyard.
• Men were typically positioned in the courtyard (patio) and the upper lofts (aposentos), while women occupied the cazuela.

Stage Structure and Machinery

The stage itself was multi-level and designed for dynamic scene changes:

• The first level was used to represent scenes in various environments.
• The second level was the first gallery (corredor).
• The third level was the second gallery.
• The fourth level was the attic, housing the stage machinery (tramoyas) for special effects.

Lope de Vega's National Comedy: Principles and Characters

Lope de Vega, the architect of the most successful dramatic formula for the Spanish public, established key principles for the Comedia Nueva (New Comedy):

Key Principles of Lope's Drama

• Mixture of Tragic and Comic Elements

  Lope justified blending tragedy and comedy, arguing that both elements are present in real life.

• Rejection of Dramatic Unities

  Baroque plays generally disregarded the classical unities of time and place. Playwrights freely employed multiple settings and shifts in time, adapting to the narrative's requirements.

• Division of Drama into Three Acts

  Works were typically divided into three acts, often referred to as "days":

  • Exposition: Covers the beginning of the plot, leading into the first part of the conflict (knot).
  • Knot (Nudo): Encompasses the rest of the first act, the entire second act, and the initial part of the third act, developing the central conflict.
  • Outcome (Desenlace): The resolution, concluding the third act.

  Interspersed within these acts were jornadas (scenes or sequences) defined by changes in meter.

• Decorum, Language, and Polymetry

  • Dramatic Decorum: This principle dictated the appropriateness of characters' conduct and language to their depicted social roles. Decorum was closely linked to verisimilitude, which varied depending on the type of work.
  • Language: Lope advocated for a pure and chaste language that would suit the specific situation and character.
  • Polymetry: He strongly recommended the use of a variety of meters and stanzas within a single play, adding richness and flexibility.

Common Characters in Lope's Comedies

While Lope often highlighted themes of honor and virtuous actions, other prevalent themes in this century included romances, biblical stories, and historical narratives. The recurring character types include:

• The Lady (Dama)

  The central female figure of the comedy, typically beautiful, virtuous, and of noble lineage.

• The Leading Man (Galán)

  The male counterpart to the Lady, equally handsome and noble, characterized by generosity, loyalty, and often embodying heroic or saintly qualities.

• The Powerful Figure (Poderoso)

  Usually represented by a king, but also noble princes, who often abuse their power.

• The Old Man (Viejo)

  A wise and courageous defender of honor, almost always the father of the Lady.

• The Gracioso (Funny)

  A comic figure designed to elicit laughter from the audience, often serving as the counterpart to the Leading Man.

• The Graciosa (Female Counterpart to Gracioso)

  The female companion or love interest of the Gracioso.