Spanish Golden Age Theater: Origins, Genres, Lope de Vega

Origins of Spanish Golden Age Theater

Italian Influence and Early Developments

The origins of Spanish theater in the sixteenth century were significantly influenced by Italian techniques and resources. Lope de Vega was well acquainted with the work of Italian companies and founded his own "theater cave" (teatro cueva). Juan del Encina introduced Mexican themes into Spanish drama by the end of the sixteenth century.

Structure of Golden Age Drama

Divisions of a Play

Plays were typically divided into three acts, or "days":

• Exposure (Exposición): The first act, introducing the characters and conflict.
• Knot (Nudo): The remainder of the first act, the second act, and part of the third, where the plot develops.
• Outcome (Desenlace): The resolution of the plot.

Corrales and Their Audience

Public Theaters and Seating

Spanish Golden Age plays were performed in "corrales," open-air courtyards adapted for theatrical performances. The audience's seating reflected a distribution based on social status and the price of admission:

• Popular Entries:
  • Patio: Standing area for commoners.
  • Cazuela: A separate area for women, often at the back.
  • Benches and Bleachers: Seating for various social groups.
• Distinguished Localities:
  • Gradas: Elevated stands.
  • Aposentos: Private boxes for nobility and distinguished individuals.
  • Official Boxes: Reserved for authorities.

Theater Performances and Scenography

Minimal Scenery, Oral Aesthetic

Scenography in Golden Age theater was minimal. The performance relied heavily on an aesthetic unit of oral presentation, where dialogue and acting conveyed the setting and action. Certain plays, like the "comedies of saints," were particularly popular. The fame of the actors was crucial in attracting the public.

Lope de Vega's Renewal: The New Art of Comedy

Innovations in Dramatic Form

Lope de Vega revolutionized Spanish drama with his "New Art of Making Comedies" (Arte Nuevo de hacer Comedias), introducing several key innovations:

• Mixture of Tragic and Comic: He balanced serious content with humorous elements, reflecting real life.
• Three Acts: Plays were consistently structured into three acts.
• Unity of Action: While not strictly adhering to classical unities, Lope respected the unity of action, focusing on a single main plot.
• Verse Language: Works were written in verse, with language adhering to rules of decorum appropriate for each character.
• Minimal Stage Directions: Information for the public was primarily conveyed through the actors' dialogue.
• Happy Ending: Most plays concluded with a happy resolution.

Key Characters in Lope's Plays

Lope de Vega's plays featured recurring character archetypes:

• King: Possesses immense power, capable of rewarding or punishing, often acting as a destructive or restorative force.
• Knight Gallant (Galán): The heroic male protagonist, often a lover, father, brother, or husband.
• Lady (Dama): The central female character, often intelligent and resourceful.
• Gracioso: A comic figure, often a servant, providing humor and sometimes complex commentary.
• Villano: A farmer or villager, representing a simple lifestyle, often embodying honor and justice.

Comic Elements and Themes

Comic parts in Lope's plays often featured pleasant themes, holiday settings, and humorous swashbuckling. These included "comedies of intrigue" (comedias de capa y espada) and "palatial comedies" (comedias palatinas).

Themes and Major Genres

Tragicomedies and the Conflict of Honor

Tragicomedies often explored the tragic conflict of honor. Honor, as a virtue, was understood as an inherited quality. In some cases, the theme of honor merged with religious devotion, as seen in plays like The Constant Prince (El Príncipe Constante).

Key Theatrical Genres

Beyond the main comedies and tragicomedies, several other theatrical genres flourished:

• Auto Sacramental: An allegorical one-act play, typically performed during Corpus Christi, exalting the Eucharist.
• Interlude (Entremés): A short, comic piece performed between acts of a longer play.
• Loa: A prologue or short piece used to greet the audience and set the tone, often seeking their benevolence.
• Dance (Baile): A short dance piece with a mild plot, often performed between acts.
• Jácara: A short, lively piece recreating the atmosphere of rogues, thieves, and the underworld.
• Masquerade (Mojiganga): A grotesque and often satirical masquerade or procession.

Works of Lope de Vega: Major Themes

Dramas of Unjust Power

A significant portion of Lope de Vega's dramas address the abuse of power by nobles, often leading to tragic consequences for commoners.

Dramas of Honor and Revenge

These are among Lope's most representative works. They explore the concept of honor, distinguishing between:

• Intimate Honor: The personal honor of each individual.
• Social Honor: Honor that depended on the opinion of society.

The theme of "punishment without honor" (castigo sin venganza) is a recurring motif, where justice is served without public revenge.

Dramas of Love and Death

Love is a fundamental theme, often intertwined with jealousy and its consequences for honor. Love is presented as a precious human value that justifies the highest sacrifices.

Love Comedies

In these plays, love overcomes all obstacles, leading to a happy resolution. A famous example is The Foolish Lady (La Dama Boba).