Charlotte Stern, Lynchburg College Almost forty-five years of study and velopment from medieval folk ritual research have passed since Bonilla y and games just as Francis Cornford San Martín published his Bacantes o traced the stereotyped features of Attic del origen del teatro español and thirty comedy as survivals of Greek religious years since Crawford revised his Span- rites?2 In this regard, a cursory survey directly concern specialists in the Gol- a decidedly magic and ritualistic funcden Age comedia since early dramatic tion. In the sixteenth century, in adtradition in a traditionally-minded dition to numerous plays commemocountry like Spain undoubtedly had rating Christ's birth and resurrection, some bearing on the direction given whch retain many features of earlier later to the drama by Lope and his medieval performances, there are Encina's two Églogas de antruejo, inspired contemporaries. I wish, therefore, to discuss the na- by folk Carnival celebrations, the anondel of ture of the early theater, focusing my ymous Autoclash repelón, suggestiveand the annual between students attention specifically on five major as- villagers, Vicente's Auto pects: (1) the sixteenth-century drama tiempos and his Triunfode los cuatro do inverno, as a re-working of medieval ritual and both reminiscent of
Bulletin of the Comediantes – Bulletin of the Comediantes
Published: Jan 8, 1966
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