Showing posts with label comedia nueva. Show all posts
Showing posts with label comedia nueva. Show all posts

Thursday, January 2, 2014

El alcalde de Zalamea – Calderón de la Barca (~1636)



La obra en general
-          Una de las obras más conocidas y representadas del Siglo de Oro de la literatura española.
-          Se encuadra dentro de la literatura barroca y se clasifica como un drama de honor.
-          Trata de contraponer, al reflejo de las preocupaciones de la Edad Moderna, el individuo al poder político.
-          También se enfrenta el honor estamental a la virtud personal y por último, sociológicamente personifica el equilibrio de poder en el municipio moderno.

Personajes principales
-          El rey, don Felipe II
-          Don Lope de Figueroa
-          Don Álvaro de Ataide, capitán
-          La Chispa – acompanante femenina
-          Pedro Crespo – labrador rico, luego alcalde de Zalamea
-          Juan – hijo de Pedro Crespo
-          Isabel – hija de Pedro Crespo; secuestrada por don Álvaro
-          Inés – prima de Isabel
-          Don Mendo – hidalgo
-          Nuño – criado de don Mendo

Argumento
La obra narra el drama vivido en la localidad extremeña de Zalamea de la Serena al pasar las tropas españolas con motivo de la guerra de Portugal. El capitán Don Álvaro de Ataide, personaje de extracción nobiliaria es alojado en la casa del labrador rico de la localidad, Pedro Crespo, a cuya hermosa hija Isabel secuestra y ultraja. Cuando Pedro Crespo intenta remediar la situación, ofrece bienes a Don Álvaro para que se case con Isabel, a la que rechaza Don Álvaro por ser villana, es decir de clase inferior. Este desprecio afrenta definitivamente el honor de toda la familia de Pedro Crespo. En pleno trauma familiar, es elegido alcalde de Zalamea y siguiendo una querella cursada a la justicia por la ultrajada Isabel, aún sin poseer jurisdicción sobre el militar, Pedro Crespo prende, juzga y hace ajusticiar a Don Álvaro dándole garrote (cudgel/strangle). La trama se resuelve, cuando el Rey Don Felipe II, revisa la decisión del alcalde, la ratifica y premia su decisión nombrando a Pedro Crespo alcalde perpetuo de Zalamea.

Temas
-          Social class, relationships between nobles and working class
-          Gender / male-female relations
Nature of leadership, who should be leader, how a leader gives justice

La vida es sueño (1635) – Pedro Calderón de la Barca



Sobre el dramaturgo y la obra
-          Spain, 1600-1681
-          Catholic/Jesuit influence
-          One of Spain’s most famous playwrights – alongside Lope de Vega
-          First published in 1635 (or possibly early in 1636), it is a philosophical allegory regarding the human situation and the mystery of life. Focusing on the fictional Segismundo, Prince of Poland, the play has as its central theme the conflict between free will and fate. The play remains one of Calderón's best-known and most studied works.

Characters
-          Rosaura – appears on scene dressed as a man, later she disguises herself as Estrella’s servant; she wants revenge from Astolfo
-          Clarín – Rosaura’s servant
-          Segismundo – king’s son; has lived imprisoned in the tower due to king
-          Clotaldo – Rosaura’s father; has raised Segismundo
-          King Basilio – old and wise king; Segismundo’s father; believes in astrology and predestination and decided to imprison Segismundo
-          Astolfo – Duke, the named heir of the king; is set to marry Estrella but dishonored Rosaura
-          Estrella – other named heir of the king, is going to marry Astolfo

Relationships between the characters
-          Rosaura was the lover of Astolfo.
-          Estrella is the current lover of Astolfo.
-          Rosaura is Clotaldo’s daughter.
-          Clotaldo is loyal to the king even though he has raised Segismundo.
-          Segismundo was interested in Rosaura, but he eventually marries Estrella.

Themes / Main ideas
-          Truth vs. Appearances/lies/deceit/duplicity
o   Rosaura’s dress as a man, later disguise as a servant
o   Basilio’s lie that Segismundo died at birth
o   Basilio tests Segismundo
-          Dream vs. reality
o   Connection of dream with conversion/change
-          Free will (Catholics) vs. Predestination/Predetermination (Protestants)
o   Free will – Segismundo can be a good king
o   Predestination – Segismundo will be a bad and violent king due to astrology
-          Violence
-          Betrayal vs. loyalty
o   Clotaldo betrays Segismundo
o   Clotaldo betrays Rosaura
o   Segismundo betrays the king
o   Questions of loyalty – are the people loyal to the law or to the king?
-          Honor
-          Lesson for the audience
o   There are consequences for everything we do
o   Shouldn’t rebel against authority
o   “hay libertad en la vida – confianza que todo será como debe al final.. predestinación”

Very brief summary
-          First Act: Rosaura arrives on the scene. Introduction of Segismundo in the tower and of Clotaldo as Rosaura’s father. The king Basilio wants Segismundo to be prince for a day (to prove that he is a violent monster).
-          Second Act: Segismundo has his day as prince and is very violent; his whims are law. He kills a servant and tries to rape Rosaura.
-          Third Act: The people rebel against the king with Segismundo; Segismundo has to enact justice against the people.

More detailed summary
Act I
King Basilio of Poland has kept his son, Prince Segismundo, secretly imprisoned since birth, telling his subjects that the prince died in childbirth. The reason is that the king, who is an erudite of astrology, has accepted the prophesy of an oracle that the prince would bring disaster to the country and to King Basilio himself. Telling his subjects that the boy died soon after birth, the king has keep him hidden in a tower under the guard of his advisor, Clotaldo. Now Segismundo has grown up. Rosaura, a lady of noble birth, arrives as an attendant of Princess Estrella, the king's niece. Disguised as a man of war, she and her companion, Clarion, stumble across Segismundo's prison tower. They converse with him, mentioning that they seek revenge. The prince confesses that he, too, thinks of revenge. Clotaldo arrives and, recognizing that Rosaura's sword belongs to someone to whom he owes a favor, he guarantees safe passage for her to Warsaw.
Act II
The King wishes to reveal his son as rightful heir to the throne to test if the predictions were right or there is a chance that Segismundo could be a good king. The King has Segismundo drugged and taken to the palace so that, if Segismundo does not pass the test, he can be taken back to his prison and could be persuaded that it was all a dream. The Prince is brought to court, told about his royal heritage, and presented with royal power. He meets his cousin, Astolfo, the Duke of Muscovy, and their cousin, Princess Estrella, finding an instant attraction to the latter. Seeing his father and jailor, however, makes him violent, and he rages like a tyrant, killing a servant; attempting to rape Rosaura; injuring the King's advisor, Clotaldo, when he comes to help his daughter; and involving himself in a sword fight with Astolfo. Horrified and certain of the truthfulness of the dire prophecy, the King has Segismundo drugged again and returned to his tower prison. With Segismundo out of the picture, the king allows Astolfo to court Estrella, since with their union they would share the succession to the throne instead of competing for it. Astolfo recognizes Rosaura (who is going by the name Astrea), whom he abandoned to try to gain the Polish crown, and they break off their relationship for good. Upon waking, Segismundo mourns, convinced by Clotaldo that the previous day's events had been nothing more than a dream. Segismundo declares: "All of life is but a dream,/And dreams are only dreams."
Act III
While he remains oblivious in his cell, Rosaura alerts the people that they have a prince, and many rebel, breaking him out of his prison tower, although at first comically mistaking Rosaura's companion, Clarion, for the prince. Though Segismundo rejoices, he cannot be sure whether this new development is, in fact, reality or still just a dream. Segismundo allows the king and Cotaldo their freedom. Rosaura wants to kill Astolfo, telling her reasons first to her father and then to Segismundo. The rebels persist on behalf of the prince, and the King raises an army of the people. The rebels defeat the King, and when the two encounter each other face to face, Basilio throws himself at his son’s feet, expecting the parricidal prophecy to be fulfilled. Instead of killing him, Segismundo forgives him. In light of the generous attitude of the Prince, the King proclaims Segismundo heir to his throne after all. As King, Segismundo decides that Astolfo must keep his promise to marry Rosaura to preserve her honor. At first Astolfo is hesitant because she is not of noble birth, but when Clotaldo publicly reveals that she is his daughter, Astolfo consents. Segismundo then claims Estrella in marriage himself. Segismundo resolves to live by the motto that "God is God," acknowledging that, whether asleep or awake, one must strive for goodness.

“El burlador de Sevilla y convidado de piedra” (1630) – Tirso de Molina




Sobre el autor/dramaturgo y la obra
-          Spain, 1579-1648
-          Baroque dramatist, poet, and Roman Catholic monk/priest
-          This play was first published in Spain around 1630, though it may have been performed as early as 1616. Set in the 14th century, the play is the earliest fully developed dramatization of the Don Juan legend.

Main Characters
-          Don Juan – protagonist (a young noble); relentlessly seduces all women possible by promising them marriage; receives deserved punishment at end
-          Isabela – Duchess that Don Juan seduces; she was going to marry Duke Octavio
-          Don Gonzalo – nobleman and military commander, Doña Ana’s father
-          Doña Ana – noble woman and don Gonzalo’s daugther; is engaged to Don Juan for a time (but the engagement is broken off); is in love with her cousin the Marquis de la Mota

Secondary Characters
-          Octavio – Duke, Isabela’s lover
-          Don Pedro – Don Juan’s sympathetic uncle
-          Tisbea – peasant girl seduced by Don Juan
-          Catalinón – Don Juan’s servant
-          King
-          Don Diego – Don Juan’s father
-          Marquis de la Mota – another womanizer, who is in love with Doña Ana
-          Aminta – another peasant girl seduced by don Juan
-          Batricio – peasant man who is newly married to Aminta
-          Fabio – Isabela’s servant

Themes
-          Gender roles
o   Women are often powerless and seduced/manipulated by men like Don Juan
o   Don Juan is a “manly man” due to his powers of seduction
-          Honor – Women are dishonored by having sex without getting married.
-          Element of fantasy – Don Gonzalo’s statue/ghost comes to life
-          Religious message – against behavior such as don Juan’s

Summary
Act One
The play begins in Naples with Don Juan and the Duchess Isabela, who alone in her palace room, have just enjoyed a night of love together. However, when Isabella wants to light a lamp Don Juan threatens to kill it. She suddenly realizes that he is not her lover, the Duke Octavio, and screams for help. Don Juan's uncle, Don Pedro, comes to arrest the offender. But Don Juan cleverly reveals his identity as his nephew and Don Pedro assists him in making his escape just in time. Pedro then claims to the King that the unknown man was Duke Octavio. The King orders Octavio and Isabela to be married at once, with both of them to be held in prison until the wedding.
At home, after Octavio speaks of his love for Isabela, Don Pedro comes to arrest him, claiming that Octavio had violated Isabela the previous night. Octavio, of course, had done no such thing, and starts to believe that Isabela has been unfaithful to him. He flees from Don Pedro, planning to leave the country.
By the seashore of Tarragona, a peasant girl named Tisbea happens to find Don Juan and his servant, Catalinón, apparently washed up from a shipwreck. She tries to revive Don Juan, who wakes and immediately declares his love for her. Tisbea takes Juan back to her house, intending to nurse him back to health and mend his clothes.
Back in Seville, the King speaks to Don Gonzalo, a nobleman and military commander, about arranging a marriage between Don Juan and Gonzalo's daughter, Doña Ana. Gonzalo likes the idea and goes to discuss it with his daughter.
Back at the seashore, Don Juan and Catalinón flee, apparently after Don Juan has already seduced Tisbea. Catalinón scolds him, but Don Juan reminds him that this is not his first seduction, and jokes that he has a medical condition in which he must seduce. Catalinón says that he is a plague for women. Tisbea catches up with the two men, and Don Juan assures her that he intends to marry her. Tisbea is so overcome with grief and anger over what happened that she exclaims "fuego, fuego" meaning that she is burning up with hate and a desire for revenge. She is also overcome with shame at the undoing of her honor and flings herself into the ocean, however, she doesn't die and we see her again in the third act.
Act Two
In Seville, Don Diego, Don Juan's father, tells the king that the man who seduced the Duchess Isabela was not Octavio, but Don Juan, and shows a letter from Don Pedro as proof. The King declares Don Juan banished from Seville and retracts his plans to have him marry Doña Ana. Just then, Octavio arrives, begging the king's forgiveness for having fled earlier. The King grants it, and allows him to stay as a guest in the palace. Next, Don Juan and Catalinón arrive and talk to the Marquis de la Mota, who is a womanizer nearly as bad as Don Juan. The Marquis confesses, however, that he is actually in love with his cousin Doña Ana, but laments that she is arranged to marry someone else. Mota says he is going to visit Ana, and Don Juan sends Catalinón to follow him in secret. Don Juan's plans are also helped along when a servant of Ana's, having just seen Don Juan talking to Mota, asks that he give to Mota a letter from Ana. In the letter, Ana asks Mota to visit her during the night, at 11 o'clock sharp, since it will be their one and only chance to ever be together. Mota comes back again, apparently not having found Ana at home, and Don Juan says he received instructions from Ana that Mota should come to the house at midnight. Mota lends Don Juan his cape at the end of the scene.
That night at Don Gonzalo's home, Ana is heard screaming that someone has dishonored her, and her father, Don Gonzalo, rushes to her aid with his sword drawn. Don Juan draws his own sword and kills Don Gonzalo. With his final breath, Don Gonzalo swears to haunt Don Juan. Don Juan leaves the house just in time to find Mota and give him his cape back and flees. Mota is immediately seen wearing the same cloak as the man who murdered Don Gonzalo and is arrested.
The next day, near Dos Hermanas, Don Juan happens upon a peasant wedding and takes a particular interest in the bride, Aminta. The groom, Batricio, is perturbed by the presence of a nobleman at his wedding but is powerless to do anything.
Act Three
Don Juan pretends to have known Aminta long ago and deflowered her already, and by law she must now marry him. He goes to enjoy Aminta for the first time and convinces her that he means to marry her at once. The two of them go off together to consummate the union, with Juan having convinced Aminta that it is the surest way to nullify her last marriage.
Elsewhere Isabela and her servant, Fabio, are travelling, looking for Don Juan, whom she has now been instructed to marry. She complains of this arrangement and declares that she still loves Octavio. While travelling, they happen upon Tisbea, whose suicide attempt was unsuccessful. When Isabela asks Tisbea why she is so sad, Tisbea tells the story of how Don Juan seduced her. Isabela then asks Tisbea to accompany her.
Don Juan and Catalinón are back in Seville, passing by a churchyard. They see the tomb of Don Gonzalo, and Don Juan jokingly invites the statue on the tomb to have dinner with him and laughs about how the hauntings and promised vengeance have not yet come.
That same night, as Don Juan sits down for dinner at his home, his servants become frightened and run away. Don Juan sends Catalinón to investigate, and he returns, horrified, followed by the ghost of Gonzalo in the form of the statue on his tomb. Don Juan is initially frightened but quickly regains control of himself and calmly sits to dine while his servants cower around him. Gonzalo invites Juan to dine again in the churchyard with him, and he promises to come.
At the Alcazar, the King and Don Diego, Don Juan's father, discuss the impending marriage to Isabela, as well as the newly arranged marriage between Mota and Doña Ana. Octavio then arrives and asks the King for permission to duel with Don Juan, and tells the truth of what has happened to Isabela to Diego, who was until now unaware of this particular misdeed of his son. The King and Diego leave, and Aminta appears, looking for Don Juan since she thinks he is now her husband. Octavio takes her to the king so that she can tell him her story.
In the churchyard, Don Juan tells Catalinón about how lovely Isabela looks and how they are to be married in a few hours. The ghost of Gonzalo appears again, and he sets out a table on the cover of a tomb. He serves a meal of vipers and scorpions, which Juan bravely eats. At the end of the meal, Gonzalo grabs Don Juan by the wrist, striking him dead. In a clap of thunder, the ghost, the tomb, and Don Juan disappear, leaving only Catalinón, who runs away in terror.
At the Alcazar, every single character who has been wronged by Don Juan is complaining to the King, when Catalinón enters and announces the strange story of Don Juan's death. All the women who have claim to Don Juan as their husband are declared widows, and Catalinón admits that Ana escaped from Juan before he could dishonor her. Mota plans to marry Ana, Octavio to marry Isabela, Tisbea is free to marry again if she chooses, and Batricio and Aminta go back home.