Calderón de la Barca: Theatrical Genius and Baroque Drama

Calderón de la Barca (1600–1681)

After a military career, Calderón de la Barca eventually became a priest in Toledo, entering a monastery where he created most of his major works.

The Calderón Cycle Versus the Lope Cycle

Calderón's stage plays succeeded the Lope cycle. His temperament is notably more psychological and reflective of his epoch compared to Lope's work. Calderón's theater is highly systematic, contrasting with Lope's more spontaneous style. His writing is thoughtful and deep, whereas Lope is distinguished by his freshness and agility. Calderón also emphasizes strong, structured arguments.

Epochs of Calderón's Work

First Stage: Stage Drama

These early works are "comedies" very similar in characteristics to those of Lope. They are characterized by being realistic, traditionalist, and focused on country life. Common themes include love, mistaken identity, unexpected meetings, and deceptive appearances. The stagecraft employed was more complex, and the types and situations were more conventional (e.g., The Mayor of Zalamea).

Second Stage

After leaving the army and entering the monastery, Calderón's work became deeper. The contents are often ideological or symbolic, and the characters function as universal symbols. There is a preference for unity of action, or at most, two actions. The setting is highly ornate. He utilized Baroque language subtleties, ironies, and very cultured, loaded language (culteranismo).

Most Important Work: La vida es sueño

Production Categories

Calderón's works can be divided into three main blocks:

• Religious Works: Devotion to the Cross.
• Philosophical Works: Life is a Dream.
  • Topics: Free will, comparisons of life and sleep, archetypal characters.
  • Argument: Focuses on Sigismund and Basil.
• Tragic and Swashbuckling (of Intrigue or Entanglement):
  • The Mayor of Zalamea.
    • Themes: Honor, morality, monarchy, authority.
    • Features a deep moral character.
  • Cloak and Dagger Plays: Such as The Lady Elf and House with Two Doors is to Keep Bad Company. Themes include confusion and jealousy. The central axis is Love leading to Marriage. Characters include the importance of the funny man and the maid.

Autos Sacramentales

These were one-act plays, often referred to as "the great theater of the world."

• Topic: Theological, philosophical, or Marian history.
• The Subject: The Eucharist, following a sacramental order and argument based on sacred story.
• Staging: Sumptuous costumes, music, and bulky stage machinery were employed.