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La
estética literaria del teatro de Lope y su comedia
nueva: teoría, temas, y técnicas
o
Should mix some aspects of old comedy with some
that are more popular
o
Transition from 4 acts to 3
o
Interesting topics: Theme of honor is always
good
o
Aim to please the vulgo
o
Make it realistic – mix of tragic and comic
elements; speech realistic to characters
o
Surprise ending
o
Polimetría
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¿Tenía
razón Lope de Vega al titular su tratado poético “Arte nuevo”? Base su ensayo
en textos teóricos y en dos obras dramáticas del autor.
o
Not necessarily, since some things he said
should be done were already happening. He was just the one to pull it all
together.
o
Ex:
Lope de Rueda – Aceitunas/Paso VII… already aimed toward vulgo, already
realistic/vulgar language
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La
representación de la historia en el teatro de Lope y Cervantes. Base su
discusión en dos obras concretas.
o
El
cerco de Numancia – based on popular myth
o
El
caballero de Olmedo – based on popular story
o
Both
are tragedies
o
In both, we know what will happen at the end
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El
amor en la comedia nueva. ¿Qué es? ¿Qué diferentes tipos de amor y qué
actitudes diferentes sobre el amor se representan en el mundo dramático de Lope
y Calderón?
o
Vida es sueno – Rosaura and Segismundo; kind of purifying love
o
Castigo sin venganza – amor cortés
o
Caballero
de Olmedo – love contributes to tragic flaw of arrogance??? (maybe?)
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La
figura del gracioso en el teatro del Siglo del Oro. Características genéricas y
funciones del personaje. Elija como punto de partida para su ensayo 2 de las
obras siguientes…
o
Often voice of reason/conscience, says things
that others can’t get away with
o
Frequently a slightly warped mirror of amo
o
Caballero de Olmedo – Tello
o
Castigo sin venganza – Batín
o
Burlador de Sevilla – Catalinón
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El
tema de la justicia en el teatro del siglo de oro. Base su discusión en dos
obras concretas.
o
Castigo sin venganza – justicia that’s a bit
warped, questionable sense of honor
o
Alcalde de Zalamea – Pedro Crespo acts with
justice even though he’s lower class
o
La vida es sueno – rey’s actions can’t go against God. YET, king
can’t be punished by men, only by God. Segis will be rewared by God for
acting judiciously on Earth.
o
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El
conflicto entre libre albedrío y predestinación en el drama del siglo de oro.
Base su discusión en dos de las obras dramáticas siguientes: El burlador de Sevilla, La vida es sueño, y El gran teatro del mundo
o
Background
§
1545-1563: Council of Trent
§
1588 – Salamanca debates: Dominicans
(predestination) vs. Jesuits (Luis de Molina, free will) – no resolution to the
debate, Pope: “stop talking about it”
o
El
burlador de Sevilla
§
“tan largo me lo fiais” – arrogance, thinks he
can live badly and then repent at the very end of things
§
Don Juan’s choices condemn him; he is condemned
for his arrogance
§
Don Juan chooses to sin, thus he has free will,
and he is condemned because he uses this free will badly
o
La vida es sueño
§
“God is God. Whether asleep or awake, one must
strive for goodness”
§
Predestination because you have to stay within
the role that you are born into, but you have the free will to act how you wish
within that role (good or bad)
o
Teatro del mundo
§ Libre albedrío superior a las pasiones
humanas
§
Predestination because you have to stay within
the role that you are born into, but you have the free will to act how you wish
within that role (good or bad) ----- characters are assigned roles by God
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Honor
en Lope y Calderón. Constantes y variantes. Base su discusión en dos obras
concretas.
o
Big picture:
§
Honor is a base theme of comedia nueva (he even
says that Arte nuevo de hacer comedias), very popular theme
§
Changing vision of honor and society ---
transition over time (honor vertical vs. honor horizontal)
§
Lope doesn’t get into honor horizontal vs.
vertical, doesn’t present anything revolutionary, just dramatizes the present
tension
§
Tradición teólogica vs. civilista --- how the
king is seen. Teologica – king is given power by God. Civilista – pueblo gives
king power, so pueblo can overrule a bad king.
o
Castigo sin venganza (Lope) ---- about a leader’s behavior
§
Main thing: father’s final act of retribution
against his son --- looks like honor to the pueblo, but it’s actually
dishonorable because he’s lying, although the duque does it because he has been
dishonored
§
Father’s upper class/noble but still not very
honorable since he’s got some shady stuff going on (gambling/mujerero)
o
Caballero del Olmedo (Lope)
§
Honor’s what damns protagonist because he
decides to guard his honor rather than follow common sense to save himself
(tragic flaw)
o
Alcalde de Zalamea (Calderón) ----- about a leader’s
behavior
§
Honor horizontal (everyone) vs. honor vertical
(just the upper class)
§
Pedro Crespo – doesn’t want “honor postizo”;
honor of the lower class, everyone has honor – honor is based on actions rather
than social class
§
Pedro momentarily assumes the rhetoric of
vertical honor when he offers the violator Alvaro a big dowry to marry his
dishonored/raped daughter; but Alvaro refuses so Pedro’s even more pissed off
and ultimately dishonored even further (his family’s in an even worse position)
§
Pedro Crespo is an honorable leader because he acts according to
justice (his actions are approved by the king)
o
La vida es sueño (Calderón)
o
El gran teatro del mundo (Calderón)
§
Honor horizontal – pobre still has honor as long
as he does good, and at the end everyone is equal in front of God
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¿Cómo
se manifiestan las preocupaciones sociológicas y políticas en la comedia de
Lope, Tirso, y Calderón?
o
Castigo sin venganza (Lope)
§ Honor
§ Corrupt leader / dishonorable leader
o
La vida es sueño (Calderón)
§ Religious / philosophical / moral stuff
§
King isn’t necessarily 100% awesome – bc he goes
against God by imprisoning his son (against assigned social role – his son
should be prince)
o
El burlador de Sevilla (Tirso)
§
King is manipulated/burlado by Don Juan
§
~ religious message --- you are judged according
to your actions
§
He mocks women across society
§
Society represented in a drama. It’s a corrupt
society, friends mock friends, men mock women, no one’s safe, oh no!
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El
problema de la tragedia en el teatro español: su relación con el tema del
honor.
o
El cerco de Numancia
Caballero de Olmedo – honor is his tragic flaw
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