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Since the first half of the 19th century, Russian theater appears to be genuinely drawn to Spanish dramaturgy, starting to convey the ideals of Spanish culture and incorporating Spanish mythologems. This intense and long-lasting passion for Spain can be attributed to the Russian culture seeking to acquire some of its features. Thus, Pedro Calderón’s play «The Surgeon of his honour», staged in 1830 by the great Russian actor Vasily Karatygin, was a manifestation of Russian «hispanophilia» in the 1820s, nurtured by the Russian Romantics’ interest in the revolutionary events in Spain. In the 1860s–1870s, during the era of liberal reforms initiated by Alexander II of Russia, performances based on the works of Lope de Vega resonated with the most pressing socio-political issues of Russia. In 1915, in the midst of World War I, Vsevolod Meyerhold staged Calderón’s play «The Constant Prince» which highlighted the world’s beauty and vulnerability. The success of Spanish comedies in the late 1930s and 1940s stood in stark contrast to the era of harsh trials. The directors of the second half of the 20th century sought to distance themselves as much as possible from the stereotypical way of staging Spanish performances that emerged in the USSR in the 1940s: Andrey Goncharov wanted to present Spain as a country of «dusty roads and braying donkeys», while Sergey Barkhin alluded to Spanish mannerism in Leonid Jeifets’ performance «Jealous of Herself». Consequently, the tradition of staging Spanish plays in Russian theaters manifested itself in attempts to go beyond the «popular» Spain, to find another Spain and new forms of portraying it on stage.

Continuing the study into the creative work of the Spanish playwright Tirso de Molina, in this article the author focuses on the problems of the writer’s works on the borderline between Mannerism and the Baroque that pose the most important questions of human existence, relations with the world and with God. In a broad historical, cultural, philosophical and religious context, the article analyses autos and ‘dramas about saints’, as well as the two masterpieces by Tirso de Molina — The Man Condemned for Lack of Faith and The Trickster of Seville, or the Stone Guest. In the drama The Man Condemned for Lack of Faith, the traditional image of a Christian righteous is debunked and the exaltation of a sinner is justified. In The Trickster of Seville, or the Stone Guest, criticism of morals is closely intertwined with mythopoetic imagery, and the tragic — with the grotesque, marking the tragicomic decline of the Renaissance and the transition from Mannerism to the problems of the Baroque. The optimistic anthropocentrism of the Renaissance is shifting towards the dynamics and tragedy of being and the heightened emotionality and polarity of the image system.

Las visitas y entradas regias se revisten durante el reinado de los Reyes Católicos de un marcado carácter teatral en el que se entremezclan aspectos políticos y religiosos. Debido a ello y a la importancia de Isabel y Fernando en el devenir histórico de España, los dramaturgos áureos los incorporan a sus obras como modelos de gobernantes y de exaltación de la nación española. En Todo es dar en una cosa, obra de Tirso de Molina dedicada al conquistador Francisco Pizarro, se alude a una visita de los reyes a Guadalupe y a su posterior entrada en Trujillo, lugares de relevancia político-religiosa en el último cuarto del siglo XV. Aparece también sobre las tablas Isabel, en una actuación que concuerda con su imagen mitificada: firme defensora de la fe católica y garante de justicia y paz.

Las influencias que se establecen entre distintas obras no siempre están bien delimitadas, razón por la que la crítica, en ocasiones, establece paralelismos o conexiones entre comedias distanciadas. Los motivos presentes en ellas impulsan a los investigadores a establecer fuentes, cuando se trata de piezas que se insertan en una tradición literaria. La falta de un revisionismo de estas teorías da lugar a que se perpetúen, a pesar de haberse visto superadas. Si bien los estudiosos saben relativizarlas, muchas se mantienen en el tiempo. El objetivo de este trabajo es comparar las dos comedias que nos ocupan, a fin de desmentir que El celoso prudente, comedia de Tirso de Molina, es la fuente directa de Del rey abajo, ninguno, atribuido tradicionalmente a Rojas Zorrilla. El estudio comparativo permitirá un mejor entendimiento de las corrientes e influencias literarias compartidas. [ABSTRACT FROM AUTHOR]

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Copyright of Revista de Filología de la Universidad de La Laguna (RFULL) is the property of Servicio de Publicaciones de la Universidad de La Laguna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the tragic story of Tamar–the only daughter of King David mentioned by name in the Bible–through a comparison between the passage from 2 Samuel 13 and the play La venganza de Tamar (Tamar's revenge), by the Spanish playwright and friar Tirso de Molina (1579–1648). Through close-readings of excerpts from both texts, I emphasize the transition of the story from biblical drama to seventeenth century Spanish comedia. Within an intertextual frame, this comparative approach emphasizes the relationship between literature and law by focusing on Amnon's iter criminis (path of crime); Tamar's plea for her own integrity; and King David's duties as public authority. My goal is to explain the way Tirso reconfigures these three biblical characters to present the problem of justice from the points of view of the criminal (Amón), the advocate (Tamar), and the judge (David). [ABSTRACT FROM AUTHOR]

Our purpose is to present a structural study of three famous comedias: Peribañez y el Comendador de Ocaña, La villana de la Sagra and Quien mal anda en mal acaba. The first two are related to the figure of Saint Roch, his hagiography, his iconology and the devotional rites to which he is subjected, including bullfighting games. A mysterious Spanish tongue twister states that the dog of Saint Roch had its tail amputated. The third comedia in our corpus could explain its origin.

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Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La escatología constituye uno de los recursos humorísticos esenciales del teatro del Siglo de Oro a pesar de que la crítica literaria ha tendido a obviar que autores tan consagrados como Lope de Vega, Cervantes, Tirso de Molina o Calderón de la Barca mezclaban sus ficciones con materia fecal. Las obras dramáticas demuestran la existencia de procedimientos frecuentes que los dramaturgos utilizaban como lugares comunes y que permiten realizar una clasificación tripartita de motivos escatológicos: los vinculados con la gastronomía, el miedo y la sátira del cortejo. En ellos, el gracioso no es el único blanco de las heces, pero sí la víctima predilecta, pues se enmarca en un sistema que certifica la correspondencia entre la clase inferior, las funciones fisiológicas y las características risibles. Scatology constitutes one of the essential humorous resources of Spanish Golden Age theater, despite the fact that literary criticism has tended to ignore that established authors such as Lope de Vega, Cervantes, Tirso de Molina and Calderón de la Barca mixed their fictions with feces. The dramatic works prove the existence of frequent procedures that the playwrights used as commonplace and that allow a tripartite classification of scatological motifs: those related to gastronomy, to fear, and to the satire of courtship. In them, the "gracioso" is not the only target of the feces, but the favorite victim, since it is part of a system that certifies the correspondence between the lower class, physiological functions, and laughable characteristics. [ABSTRACT FROM AUTHOR]

This article finds the sixth of María de Zayas y Sotomayor's Desengaños amorosos unique among all her novelasfor two elements: its dense intertextuality and its strikingly unreliable narrator. Achilles's transvestite initiation into heroic manhood is a trope replicated in sixteenth-century Spanish chivalric novels, seventeenth-century drama, and Amar solo porvencer. With both the plot and Matilde's shifty manner of telling it, Zayas acknowledges and revises the classical figure's cross-dressing performance. The result is a chilling assessment of her culture's eroding norms of manly behavior. [ABSTRACT FROM AUTHOR]

Son numerosos los estudios que, desde diferentes perspectivas, han tratado el debate mantenido en el Imperio español durante el siglo XVI sobre la esclavitud del indio americano, protagonizado –entre otros– por Francisco de Vitoria y sus discípulos de la Escuela de Salamanca, y también –fuera del ámbito académico– por fray Bartolomé de las Casas y Juan Ginés de Sepúlveda. El objeto de este trabajo es estudiar si este debate caló en la sociedad española. Para ello se analizan tres piezas teatrales del Siglo de Oro firmadas por dramaturgos de la talla de Tirso de Molina, Lope de Vega y Pedro Calderón de Barca, que –dada su enorme popularidad– tuvieron capacidad de llegar al considerable público que se congregaba en los corrales de comedias. ¿Se impregnaron estos tres dramaturgos de la controversia sobre los indios protagonizada, entre otros autores, por Vitoria, Las Casas y Sepúlveda? ¿Captaron plenamente en sus obras el sutil debate que mantuvieron Vitoria, Las Casas y Sepúlveda cuando interpretaron de forma diferente los argumentos aristotélicos sobre la esclavitud y las consecuencias que de ellos se derivaban en cuanto la posibilidad de esclavizar o no a los indios?

Copyright of Anales del Seminario de Historia de la Filosofía is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

El auto sacramental de El caballero de Gracia es una obra que se ve influenciada por toda la situación cultural, social e historia de su época. De autor desconocido, se trata de un texto profundamente antiluterano que pretende difundir los dogmas de la fe católica entre los espectadores al tiempo que batalla contra las ideas reformistas que empezaban a difundirse entre la población. Para ello, insiste en retratar las herejías del lado del demonio y reforzar el dogma de fe a través de los personajes y alegorías de los pasajes más representativos del Nuevo y Antiguo Testamento. La escena se convierte en un púlpito sobre el que los actores predican la palabra sagrada y la hacen asequible para el espectador de la época.

In this work I analyze the development, in the first quarter of the 17th century, of a spectacular feature that had a great success in the Spanish theater: the fire scene. Probably originated in some urban comedies of the first period of Lope de Vega, authors extended this motif mostly to hagiographic comedies in the second decade of the century, and to historical comedies in the early twenties, especially through the work of Tirso de Molina. In this period, the scene went from being staged essentially with sound effects, without any usage of real fire, to also include other elements of performance and exploitation of the theater space, such as the rescue of the lady by the gallant, the servants who carry and break pitchers, or the use of balconies to simulate the fire place.

El presente estudio se propone analizar si el nombre influye en la construcción del personaje en las producciones dramáticas del Siglo de Oro, así como si su destino en la trama está predestinado por él. Debido a la gran cantidad de personajes y la amplia variedad en cuanto a tipología de textos teatrales, centraremos nuestra atención en el uso que dan del nombre de Diana en las obras de un grupo reducido de autores (Lope de Vega, Tirso de Molina y Agustín Moreto) dentro de la conocida como comedia palatina, y cómo remite a la diosa grecolatina homónima.

As any dramatic Monte-type space, the Pyrenean space is a busy space, that is, peopled and/or walked through by characters. Moreover, it has a special status in Tirso’s palatine or historical-palatine comedies: it is treated as a political space endowed with nobiliary virtues that are both heroic and archaic, which is in keeping with the collective imaginary of the time. Once it has been modernisingly moulded by comedia and its values, this matrix space —which is also the literary space of the epic— engenders another space: the realm of modern monarchy, in which all good originates in the King-Monte. Society is then conceived only as a vertical relationship of love and faith between the monarch and his subjects.

This article tries to show that the Tirsian comedy La villana de la Sagra, while showing at first the agitation of its protagonists, from a geographical point of view and with regard to their passions, manages to stabilize everything in proposing a lesson of love inspired by that of the bees of an apiary.

Cigarrales de Toledo presents a peculiar evolution in its textual transmission compared to other works of the period. Although critics have referred to it as an exceptional work within Tirso’s literary production due to its particular structure and composition, it has not been published in its entirety for four hundred years. On the contrary, the different parts that compose it have been separated from their framework text and have embarked on their own path, to the point of being considered independent of the miscellany. In this work we offer an overview of the transmission experienced both of the entire volume and of the different branches that emerged from it, from its publication in 1624 to the present. We also enclose a bibliographic notice that gathers all the editions, re-editions, translations and adaptations that have appeared chronologically.

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Considerando a proeminência do teatro no contexto cultural espanhol, tanto no que diz respeito à herança teatral do “Siglo de Oro” como à relevante produção dramática contemporânea, torna-se oportuno verificar de que modo, e em que medida, a tradução tem contribuído para o conhecimento deste campo do universo literário espanhol em Portugal. Este estudo foca-se nas traduções de teatro espanhol publicadas em livro, em especial no âmbito de duas coleções: “Civilização Teatro”, editada na década de 1960, e “Livrinhos de Teatro”, em publicação desde 2003. Após a caracterização de cada uma das coleções, a análise centra-se em dois volumes: a tradução das “comedias” O sedutor de Sevilha e o convidado de pedra, O amor médico, e O tímido no palácio, de Tirso de Molina (1967), e a tradução das peças O Crítico, Reiquiavique, e O Cartógrafo, de Juan Mayorga (2018). Argumenta-se que, no contexto das inter-relações literárias e culturais no universo ibérico, estes casos testemunham ambos um efetivo esforço de conhecimento e divulgação em Portugal da produção teatral espanhola; contudo, os diferentes pressupostos que guiam esse esforço ecoam os distintos contextos históricos em que se situam os processos tradutórios e os projetos editoriais em causa.

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Review of Harley Erdman's English translation of Tirso de Molina's Jealous of Herself (La celosa de sí misma).

In a comedia structured around the unfair trial of Joan of the Cross, it’s surprising that the subject of trial, duplicated in other judgments concerning various characters is not exploited from dramatic and theatrical standpoint, except for the model of “solomonian judgment”. That’s even more obvious that, in the background we can see the Lope’s Fuenteovejuna as “hypotext”.The dramatic options of the Santa Juana II turn out that they discredit the Lope’s judicial proposition.

Copyright of Lemir is the property of Universitat de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Calderoniano is the property of Anuario Calderoniano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista de Estudos Literários is the property of Imprensa da Universidade de Coimbra and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bulletin Hispanique is the property of Universite de Bordeaux III (Michel de Montaigne), Institut Hispanique and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Tirso de Molina incluye en una excelente obra en prosa su versión de la historia de Píramo y Tisbe, escrita en la novedosa décima con la inclusión de dos excelentes romancillos. Le sirve para la exposición de ideas y para una delicada elaboración puesta al servicio del ingenio. Es muy probable que el tema le hubiera sido sugerido por la lectura de J. de Montemayor aunque tuvo presente el original ovidiano. La lengua se desliza del clasicismo al barroquismo y muchos de sus hallazgos lingüísticos tienen un claro sello calderoniano.

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Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Edad de Oro is the property of Departamento de Filologia Espanola de la Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anagnórisis: Revista de Investigación Teatral is the property of Anagnorisis: Revista de Investigacion Teatral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)