12 resultados para Vega, Carlos

em BORIS: Bern Open Repository and Information System - Berna - Suiça


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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.

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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.

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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.

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