Documents published in Scipedia

• Competition for Applause in the Golden Age Theater

  I. Arellano

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  The article reviews the rivalries among the major poets of the Golden Age, particularly in the sphere of the theater. The papel examines the relations of friendship or enmity between Lope, Góngora, Tirso, Cervantes, Calderón… within the framework of the battle for popular applause and the social and economic thrive.

  Abstract
  The article reviews the rivalries among the major poets of the Golden Age, particularly in the sphere of the theater. The papel examines the relations of friendship or enmity [...]

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• Sketch for a Verbal Theory of the Comedia

  A. Zamora

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  Theater is constituted by a double and correlative tension between auditory and visual elements, on one hand, and verbal and factual components, on the other. Due to restrictions in staging or to aesthetic preference, in the Spanish Golden Age Comedia there is an initial preference for auditory constituents over visual elements. However, this partiality does not entail, as could be expected from the double binary, a supremacy of the verbal over the factual, but rather requires an equivalence between both dimensions. Given the original diminished role of visual action, in the Spanish Comedia the word becomes the action; both are one and the same. From this hypothesis, I propose an analytical model wherein the play’s plot appears as set of verbal incidents that could be reduced to four: utterance of a statement, silence, correct and incorrect interpretation of an utterance. To prove or test the validity and the critical fruits of this theorization of the Comedia and the analytical method derived from it, the essay reviews (or better, rehears) a corpus of representative plays: El médico de su honra, El desdén con el desdén, El condenado por desconfiado, and Entre bobos anda el juego.

  Abstract
  Theater is constituted by a double and correlative tension between auditory and visual elements, on one hand, and verbal and factual components, on the other. Due to restrictions [...]

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• Humour and Economics in «Hombre pobre todo es trazas» by Calderón de la Barca

  Y. Campbell

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  At the comedy, Hombre pobre todo es trazas (1628), Calderón uses a lot of resources that apparently only pretend to provoke the humor in the public. However, the economical situation, the mentality and behavioral transformations that means the «régimen dinerario» at XVIIth century in Spain, are essential for the protagonist characterization. It permits, not only enjoy, but also to understand his misleading behavior reasons and the play structure. The social value of money in the Modern economy is brilliantly dramatized by Calderón in a comic way that is always possible to enjoy

  Abstract
  At the comedy, Hombre pobre todo es trazas (1628), Calderón uses a lot of resources that apparently only pretend to provoke the humor in the public. However, the economical [...]

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• «The Passion for Order». Virtual Convergences in the Allegorical Linealismo of «Two Angels and a Holy Archbishop» and in the Theological Symbolism of the Calderonian auto sacramental

  M. García

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  «The passion for order» that characterizes the Caledonian works can be seen in the optics capacity of the dramatist to produce auto sacramentales that maintain a direct correlation with the preceding pictorial works. In this line of analysis, this study presents the convergence between the allegorical linealismo visibly present in the Roman mural paintings of the region of Castile and León in Two Angels and a Holy Archbishop of anonymous artist found in the Hermitage of the Vera Cruz de Maderuelo, Segovia, of the twelfth century Spain, and the implied significance of the symbolism represented in the scenic sketches of the auto sacramental The Immunity of Consecrated Ground by Pedro Calderón de la Barca written in the early modern Spain.

  Abstract
  «The passion for order» that characterizes the Caledonian works can be seen in the optics capacity of the dramatist to produce auto sacramentales that maintain a direct [...]

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• Spanish Tragedy of the Golden Age in its European Context: the Tragical Canon in France and England

  M. Sellers

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  Tragedy was born in Greece and was subsequently claimed and defended in Europe during the Renaissance and Baroque but, this being a gender as orthodox as changeable, it will be necessary to resort to a new reading of its components in order to adapt them to the reality of the Golden Age. Humanism promotes this recovery of the classical world and generates a significant literature on drama precepts that will not develop the same way in all European countries. While Italy and France opt for the acceptance and conversion of the ideas of Aristotle and Horace into style rules, Spain and England cannot fail to point out the dramatic dissonance between stage theory and practice, and, the aim of pleasing the public, will prevail as a benchmark of success over fidelity to the classical precepts. However, despite theoretical differences, the French drama as the English and the Spanish drama will be committed to the development of tragedy. We will discuss some ideas about drama rules in France and England and their connection with what is represented on stage, as well as the nature and intensity of the government’s support to the theatre, in order to contextualize and show the differences with respect to the Spanish Baroque tragedy.

  Abstract
  Tragedy was born in Greece and was subsequently claimed and defended in Europe during the Renaissance and Baroque but, this being a gender as orthodox as changeable, it will [...]

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• An offhanded censorship: the Inquisitorial Prohibition of Lope de Vega’s «La fianza satisfecha»

  H. Urzáiz

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  This paper analyzes the inquisitorial prohibition of Lope de Vega’s The fianza satisfecha at the end of the eighteenth century. Criticism has judged very negatively this comedia, whose authorship is uncertain. The fianza satisfecha was denounced to the Inquisition (Logroño, 1781; Barcelona, 1798) and included in the Index librorum prohibitorum (1801) after a long and rough discussion among the censors. The details of this discussion are set out in an almost unknown document (Archivo Histórico Nacional, Madrid) whose transcription is also carried out in this paper.

  Abstract
  This paper analyzes the inquisitorial prohibition of Lope de Vega’s The fianza satisfecha at the end of the eighteenth century. Criticism has judged very negatively this [...]

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• Artful Women in Positions of Power: Three Examples from Tirso de Molina

  D. Hildner

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  The present study examines three plays by Tirso de Molina (Amar por señas, El castigo del penséque and Quien calla otorga) in which female protagonists in positions of power (or as relatives of those in power) use their authority to confuse and deceive the male protagonists, who is a foreigner in their lands. Their position allows them to go beyond the typical deceptions of Tirso’s intrigue comedies (e. g., Don Gil de las calzas verdes). Concretely, they manage to detain the young man physically, to torment him without revealing their identity and to send ambiguous message that keep the male character in uncertainty. However, they are constrained by their sense of honor and it is implied that, after the traditional wedding that ends these plays, the women will no longer have the authority to continue their manipulation.

  Abstract
  The present study examines three plays by Tirso de Molina (Amar por señas, El castigo del penséque and Quien calla otorga) in which female protagonists in positions of power [...]

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• The Interlude of the Black Woman in the «Coloquio de Gila» by Lope de Rueda, and Other Black Women in Sixteenth-Century Spanish Theater

  M. Lobato

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  The Coloquio de Gila by Lope de Rueda, which came to light less than a decade ago, presents the figure of the black woman Sofía with a number of identifying characteristics. Some of these characteristics are already found in poetic texts that contain a noticeable element of dramatisation and were written towards the end of the fifteenth century, such as those by Anrique de Mota and Rodrigo de Reinosa. But it is in the sixteenth century that the ‘black woman’ character type appears in literary works by Jaime de Huete, Feliciano de Silva, Gaspar Gómez de Toledo, Gil Vicente and Diego Sánchez de Badajoz. These works constitute a sufficiently wide repertoire to examine the black woman character type and to establish the characteristics of this type on the basis of the literary texts in which she appears.

  Abstract
  The Coloquio de Gila by Lope de Rueda, which came to light less than a decade ago, presents the figure of the black woman Sofía with a number of identifying characteristics. [...]

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• A Reassessment of the Concept of Honor in the Spanish Theater of the Golden Age

  A. Lauer

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  reassessed taking into consideration anthropological, civil, legal, lexical, moral, philosophical, theological and psychological aspects. An application of this refurbished concept follows, wherein the idea of honor as a social concept and as a moral attribute clash in three villein plays: Pedro Calderón de la Barca’s The Mayor of Zalamea (El alcalde de Zalamea) and Lope de Vega’s All Citizens Are Soldiers (Fuenteovejuna), and Peribáñez and the Comendador of Ocaña (Peribáñez y el Comendador de Ocaña).

  Abstract
  reassessed taking into consideration anthropological, civil, legal, lexical, moral, philosophical, theological and psychological aspects. An application of this refurbished [...]

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• «Lope de Vega’s La hermosa Ester», a Tentative Reconstruction of Space in the Play

  M. Vitse

  Revista Test Hipogrifo (2017). Vol. 5, (1), 1

  
  

  Abstract

  This article aims to describe and characterize space in Lope de Vega’s biblical play La hermosa Ester (1610). With the exception of two comic interludes found respectively in cuadros E and H and set in a hamlet near to the Persian capital, the remaining 11 cuadros are set in the city of Susa. The city is represented by a palace with a garden, a throne room and the king’s chambers) as well as an urban space (Jewish quarter, the favorite minister’s residence, and streets), both of which are linked by a square that is situated in front of the palace, a square that is of prime importance in the dramatic action. In contrast to Danielle Crivellari’s recent study on space in the work, this new proposed reconstruction, fashioned according to implicit stage directions, brings to light the dubious fragility of spacial elements when considering the play’s system of segmentation, that can find firmer bases in the metrics

  Abstract
  This article aims to describe and characterize space in Lope de Vega’s biblical play La hermosa Ester (1610). With the exception of two comic interludes found respectively [...]

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