Teatro - History Lab https://historylab.es Wed, 18 May 2022 14:16:38 +0000 en-US hourly 1 https://wordpress.org/?v=6.9.4 https://historylab.es/wp-content/uploads/2021/06/cropped-icono-historylab-32x32.jpg Teatro - History Lab https://historylab.es 32 32 Criticism of the theatre by Antonio López de Vega https://historylab.es/criticism-of-the-theatre-by-antonio-lopez-de-vega/?utm_source=rss&utm_medium=rss&utm_campaign=criticism-of-the-theatre-by-antonio-lopez-de-vega Sat, 19 Feb 2022 16:33:46 +0000 https://historylab.es/2022/02/19/critica-al-teatro-por-parte-de-antonio-lopez-de-vega/ Fragment of text in which Antonio López de Vega criticises the theatre, adducing a series of reasons for the rejection it generates

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]]> In this text dated 1641, Antonio López de Vega defends the censorship of the theatre for presenting a whole series of problems linked to its style. Guillermo Carnero explains the Spanish poet’s motivations, basing them on his rejection of the mixture of the comic and the tragic, as well as the multiplicity of plots lacking a logical unity. In the same way, it is a space in which characters of such high social value as kings are ridiculed, while others of low social standing are exalted. On the other hand, he was repulsed by gestural exaggerations and the use of verisimilitude as opposed to truth. Lope de Vega’s statements would constitute a precedent and would be followed in time by those who would advocate the censorship of the theatre.

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]]> Fernando VII’s Circular of 1830 https://historylab.es/fernando-viis-circular-of-1830/?utm_source=rss&utm_medium=rss&utm_campaign=fernando-viis-circular-of-1830 Sat, 19 Feb 2022 16:33:29 +0000 https://historylab.es/2022/02/19/circular-de-fernando-vii-de-1830/ Circular promulgated by Ferdinand VII in 1830 against performances in private homes

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]]> Theatrical performances became very important in cities as dynamic as modern Barcelona. Social mobility and the emergence of new bourgeois groups thanks to remittances from overseas generated an increasingly affluent social class. Theatrical performances became so important that they began to be organised on the initiative of private individuals. The economic power of the patrons allowed the organisation of splendid plays thanks to their access to exclusive costumes and materials. Access to these plays was also a space for recognition among the elite, whether among the nobility or the emerging bourgeoisie (social opulence). In a context such as that of 1830, after the experience of the Liberal Triennium, it is understandable that Ferdinand VII censored this type of meeting, fundamentally for fear of the conspiracies that could be orchestrated against him due to the social nature of this type of clandestine meeting.

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