La Celestina and Early Spanish Theater: A Deep Dive

La Celestina and the Dawn of Spanish Theater

Two Distinct Theatrical Traditions

Early Spanish theater encompassed two distinct genres:

• Religious Theater: Focused on themes related to the life of Jesus.
• Profane Theater: Included burlesque, as well as amorous and pastoral themes.

Significant authors of this period included Lucas Fernández and Juan del Encina. Encina's characters often used a rustic language known as sayagués. A representative character is the shepherd, known for singing, dancing, being infatuated, and neglecting their duties. The merit of these authors, and of theater throughout the 15th century, lies in the appearance of La Celestina, written by Fernando de Rojas.

Authorship and Editing of La Celestina

The first known edition of La Celestina appeared in Burgos in 1499, although the first folio, which should have contained the title, argument, and author's name, is missing. This version of the work consisted of 16 acts. In new editions published in 1500 in Toledo and Salamanca, it was titled Comedy of Calisto and Melibea. In 1501, a prologue and two poems were added:

• A foreword in the form of a letter titled "The Author to His Friend," where the author explains that he found some papers in Salamanca that excited him so much that he was moved to continue the work. There would have been two authors: an anonymous author for the first act, and Fernando de Rojas for the rest.
• An acrostic poem composed of verses whose first letters, read vertically, form a name or phrase.
• A poem by the corrector Alonso de Proaza, who explains the existence of the acrostic verses.

In 1502, five acts were added, known as the "Treaty of Centurio," featuring the character Centurio. The title then changed to Tragicomedy of Calisto and Melibea. In the 17th century, it was published in Alcalá de Henares with the title La Celestina.

Structure of La Celestina

La Celestina consists of 21 acts:

• Act I: Introduction
• Acts II-XII: Development of conflicts among the characters
• Acts XIII-XX: Development of the love between Calisto and Melibea
• Act XXI: Pleberio's lament

Style in La Celestina

The style alternates between the refined language of Calisto and Melibea and the popular language of Celestina, the servants, and her pupils. The dialogues between Calisto and Melibea are in a courtly style, while those between Celestina and her associates are in the vernacular. The discursive varieties include:

• Dialogue: Reflects the character of each person.
• Monologue: Reveals the doubts of the characters.
• Asides: Indirectly address the reader or audience.

Auto de los Reyes Magos: An Early Religious Play

Auto de los Reyes Magos (Play of the Three Wise Men) is the first play to be preserved in written Castilian. The original is not preserved, but it is an adaptation of an Ordo Stellae. This work preserves 147 multimeter verses. The characters include Melchior, Gaspar, Balthazar, King Herod, and some wise men. The text is divided into five scenes:

• Scene I: The kings' monologue about the possible meaning of the star.
• Scene II: They agree to follow the star.
• Scene III: The kings tell Herod they believe a new king has been born.
• Scene IV: Herod brings together scholars to see if he is at risk.
• Scene V: Two wise rabbis clash over the meaning of the scriptures regarding the coming of Jesus Christ.

Profane Theater: Ridicule and Entertainment

Profane theater often involved ridicule, games, and fiestas locas (crazy parties). The works were typically short, repetitive shows, so the players interpolated music and maximized the use of mime. They were represented in places where they set up their scenarios, which they carried on carts. This is why it was sometimes called Fiesta de Carros (Feast of Carts).