Show Less
Restricted access

Religious and Secular Theater in Golden Age Spain

Essays in Honor of Donald T. Dietz

Series:

Edited By Susan Paun de García and Donald R. Larson

The essays in this book honor the seminal contributions to the field of early modern Spanish drama of Donald T. Dietz, who has devoted his career to the promotion of classical theater, not just as dramatic poetry but as vibrant performance art. Written by a variety of respected scholars and never before published, the twenty-two essays, organized into six sections, present a wide variety of interests, approaches, and methodologies, including ideological and theological exegesis, poetic analysis, cultural studies, and semiotics of theater. The first section reviews Dietz’s impact on the field of Comedia studies, where he played a critical role in moving the discussion from page to stage. The next two sections explore facets of religious theater, including autos sacramentales and comedias de santos, as well as religious aspects of secular theater. Essays from the other sections explore questions of reading and of staging classical theater, in the original Spanish, in English translation, and in adaptation for the stage and for radio, as well as theoretical and practical approaches to the pedagogy of performance. Specialists and students within and across many disciplines—theater history, comparative performance studies, literary studies—will find this collection both useful and illuminating.

Show Summary Details
Restricted access

El uso de la silva en el auto sacramental de Calderón: El tesoro escondido (A. Robert Lauer)

Extract

part

El uso de la silva en el auto sacramental de Calderón

El tesoro escondido

A. Robert Lauer

Acaso lo más seguro que se podría decir sobre la forma poética denominada “silva” es que ésta “no se define nunca tan claramente, ni por su origen ni por su desarrollo” (Rivers 253). En efecto, su origen clásico es, por un lado, desconocido; su significado, por otro, incierto. Estacio (Publius Papinius Statius [45–96 d. de C.]) es el primer autor que conocemos que haya escrito silvas. Sin embargo, como indica K. M. Coleman, Lucano (Marcus Annaeus Lucanus [39–65 d. de C.]) las había usado antes y es probable que Estacio hubiera usado el nombre de silva en su honor (xxii). El término silva, a la vez, es metafórico y tiene al menos dos significados: (1) madera o bosque y (2) material o materia prima (Bailey 5). Otrosí, la disposición métrica de la silva clásica no indica necesariamente su uso; adicionalmente, su estructura tampoco es uniforme ni estable. Las treinta y dos silvas de Estacio usan al menos tres estilos poéticos distintos: (1) el hexámetro dactílico (utilizado generalmente para poesía épica), (2) el endecasílabo y (3) la oda lírica en dos modalidades: alcaica (4.5) y sáfica (4.7) [Nagle 7]. A la vez, a pesar de que la mayoría de las silvas estacianas usen hex...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.