History of Peninsular Theater: From Medieval to Baroque

1. The Origins of Peninsular Theater

1.1. The Medieval Theater

The oldest preserved Castilian dramatic text is the Auto de los Reyes Magos, dating back to the mid-twelfth century.

1.2. The Renaissance Theater

• Religious Theater
• Italizante Theater: Focuses on the dramatic works of Juan del Encina.
• Classical Theater: Greco-Roman models were imitated.
• Nationalist Theater: Highlights the work of Juan de la Cueva.
• Popular Theater: Features Lope de Rueda, who wrote plays and created the pasos (sketches).

Cervantes Theater

Cervantes also expanded the drama, particularly through his entremeses (starters).

• Entremeses: Cervantes reworked the character types established by Lope de Rueda, such as the ruffian and the fool. His themes include love, marriage, and social satire. Among the most valued is The Altarpiece of Wonders.

2. The Theater in the Seventeenth Century

2.1. The Comedy Theaters (Corrales)

Performances were initially held in Baroque courtyards known as corrales.

The surrounding buildings featured a ground floor and three upper levels. The first level had barred windows, the second contained rooms, and the top level featured small attic rooms. The front of the stage building had four floors: the ground floor housed the entrance and the alojera chambers; the first floor held the cazuela; the second floor featured the balcony of the Madrid City Council; and the top floor was reserved for the clergy.

Behind the platform stood a wooden structure called the dressing room. The audience sat on benches, side steps, or stools. Men were placed in the courtyard and attics, while women sat in the cazuela. The rooms were occupied by powerful magnates.

The most important corrales in Spain included the Príncipe and de la Cruz in Madrid, Doña Elvira, San Pedro, and the Hunt in Seville, and the Almagro, which still functions as a theater today.

2.2. The Courtly Theater

Drama became a key factor in court festivals, characterized by spectacular staging. Dramatic activity increased under Philip III and flourished under Philip IV with the arrival of Italian set designers. Performances were held in palaces and outdoors. Following the death of Philip IV, these elaborate productions were suspended, and the courtly theater slowly declined.