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Bibliography of Foreign Publications on the Comedia

Bibliography of Foreign Publications on the Comedia and cruelty not to the audience, who are in fact better informed than he, but to a society which stands off stage, in relation to which the actions of Toruvio and Águeda take on their deepest meaning. As early as 1916 Castro observed that cruel. Aloxa exposes their stupidity Lope de Vega and Calderón. Lope de gave his Spanish audience not only en- Rueda is indeed a worthy predecessor of the great national dramatists. He tertaining farce, but farce with a unique relevance for the particular society in which it was played. honor as public opinion forms a central structural axis not only of the theatre of Calderón, where it is violently his predecessor Lope de Vega as well.4 I would suggest that the same preoccupation with honor, presented in a much exaggerated, but informs the theatre of 1 Lope de Rueda, Teatro, ed. J. Moreno Villa, Clás. cast. (Madrid, 1924), p. 259. 2 "The Olives of Lope de Rueda", privately printed (North Harrow, England, 1962), p. 8. 3 Taurus (Madrid, 1961), p. 56. 4 "Algunas observaciones acerca del concepto del honor", RFE, III (1916), p. 16. less stylized mold, held the same appeal for the audience of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Bulletin of the Comediantes Bulletin of the Comediantes

Bibliography of Foreign Publications on the Comedia

Bulletin of the Comediantes , Volume 19 (1) – Jan 8, 1967

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Publisher
Bulletin of the Comediantes
Copyright
Copyright © Bulletin of the Comediantes
ISSN
1944-0928
Publisher site
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Abstract

and cruelty not to the audience, who are in fact better informed than he, but to a society which stands off stage, in relation to which the actions of Toruvio and Águeda take on their deepest meaning. As early as 1916 Castro observed that cruel. Aloxa exposes their stupidity Lope de Vega and Calderón. Lope de gave his Spanish audience not only en- Rueda is indeed a worthy predecessor of the great national dramatists. He tertaining farce, but farce with a unique relevance for the particular society in which it was played. honor as public opinion forms a central structural axis not only of the theatre of Calderón, where it is violently his predecessor Lope de Vega as well.4 I would suggest that the same preoccupation with honor, presented in a much exaggerated, but informs the theatre of 1 Lope de Rueda, Teatro, ed. J. Moreno Villa, Clás. cast. (Madrid, 1924), p. 259. 2 "The Olives of Lope de Rueda", privately printed (North Harrow, England, 1962), p. 8. 3 Taurus (Madrid, 1961), p. 56. 4 "Algunas observaciones acerca del concepto del honor", RFE, III (1916), p. 16. less stylized mold, held the same appeal for the audience of

Journal

Bulletin of the ComediantesBulletin of the Comediantes

Published: Jan 8, 1967

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