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It contends that the change and evolution of Spanish comedy was influenced by socio-genetic factors that are expressions of a collective comic mentality or mind-set. These factors consist of shared, inter-subjective thoughts such as concepts, value, and intuitive assumptions.
The two main, well-known periods, when the Italian comici were in France (1680–1697 and 1716–1731), are reconstructed, and their travels in Spain are illustrated in particular by the activities of the company of Alberto Naselli (also known as Zan Ganassa) and that of Abagaro Frescobaldi, also known as Stefanelo Bottarga.
The Spanish comedia developed in the late sixteenth and early seventeenth centuries. As Madrid grew into a sophisticated imperial capital, the theater provided a space to perform the customs, concerns, desires, and anxieties of its citizens. Though the form was influenced by the
In the following pages, we will study the magazine El Gran Bvfón (1912–13), which featured some of the best illustrators in Spain at the time and sought to renew caricature and humourism in accordance with European innovation at the turn of the century.
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Introduction. 1. The challenges of historiography. 2. Lope de Vega, Calderón de la Barca and Tirso de Molina. 3. The world as a stage. 4. Playing the palace. 5. The art of the actor, 1565–1833. 6. Theatrical infrastructures, dramatic production and performance, 1700–1759. 7. Popular theatre and the Spanish stage, 1737–1798. 8.
Featuring revealing interviews with actor Nuria Espert, director Lluı ́s Pasqual and playwright Juan Mayorga, the volume positions Spanish theatre within a paradigm that recognises its links and intersections with wider European and Latin-American practices.
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Spanish Golden Age theatre refers to theatre in Spain roughly between 1590 and 1681. [1] Spain emerged as a European power after it was unified by the marriage of Ferdinand II of Aragon and Isabella I of Castile in 1469 and then claimed for Christianity at the Siege of Granada in 1492. [2]
