Presencia y latencia del diablo en tres comedias de Agustín Moreto

In this paper, we analyze the dramatic configuration of the devil in three plays by Agustín Moreto, Los siete durmientes (1651) El más ilustre francés, San Bernardo (1657) y El azote de su patria (1669). The main prospect is not only the study of the stage power of a character with such a wide range of theatrical and artistic possibilities, but also his structural role in the conflict and his decisive influence on the action even when he is not actually present.

Imaginería sacra y espacios pictóricos en las comedias de santos de Lope de Vega

Departing from the concepts of visualism and theatricality understood as the base of the world view of an epoch, a reflection about the presence of a pictorial-based expressiveness in the performance of Lope’s comedias de santos is suggested. Besides the analysis of the suitable contexts and staging procedures associated to the appearance of sacred images on stage, static performances, closer to painting than to drama, are also taken into account as a device which contribute to create that transcendent meaning which is essential to hagiographical comedias.

Comicidad y devoción: la risa festiva en la comedia hagiográfica de Lope de Vega

Taking into consideration Lope de Vega’s corpus of hagiographical comedia, we value how the typical comicality of arte nuevo became compatible with that pious sense which was essential to hagiographical plays. We discuss the different roles played by festive laugh in a dramatic subgenre which intended to lead the audience to devotion. The aim of this article is to deepen into the strategies through which comedias de santos contributed to a double prospect, festive and pious.

El valor estructural de la magia en el universo pastoril de Lope de Vega

The different aspects of magic became an essential ingredient of bucolic universe since the origin of pastoral genre. Within an idealized and utopic frame, magic built a bridge towards transcendence, and balanced the disharmony created by human love emotions within Arcadian microcosm. This concept of magic became infused to Sixteenth century pastoral novel through Neoplatonism and Hermetic tradition. From a narratological point of view, magic episodes became indispensable to complete the philosophical meaning of the works. Lope de Vega, in La Arcadia, published in 1598, fully participated from this tradition, though he will approach the convention from a particular dramatic-like perspective. And it was precisely in pastoral comedias where the Fénix ends up deconstructing bucolic code to remodel it as a mere vestige of the tradition and treat magic as a humorous ingredient.