By Ted L.L. Bergman
Opposite to well known trust, Pedro Calder?n de l. a. Barca had a feeling of humour. This ebook examines the necessary and infrequently crucial use of humour in his works, taking a look past his chronic recognition as a dour and dogmatic consultant of the Spanish canon. Calder?n's teatro breve (featuring mojigangas, entremeses and j?caras) flourishes on comedian options and events that poke enjoyable at every thing and everyone, from aspiring the Aristocracy to humans dealing with execution; and he parodies and satirizes genres and subject matters reminiscent of the automobile sacramental or the notorious 'honour code'. His irreverence and hope for the audience's laughter will not be simply expressed in his teatro breve: the exact same funny suggestions and occasions, or even complete small works themselves, are present in his comedias, blurring and infrequently disposing of the excellence among 'major' and 'minor' genres. Calder?n proves that the 'complementary' teatro breve don't need to reside a separate lifestyles, and that its presence in the comedia itself bargains untold possibilities for novelty, diversion and feedback. by means of turning jokes right into a dramatic artwork shape and vice versa, Calder?n has a lot to educate us concerning the presence, function and functioning of humour in all of Spanish Golden Age theatre. TED L.L. BERGMAN is Professor of Spanish Language and tradition, Soka college of the United States.
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Extra info for The Art of Humour in the Teatro Breve and Comedias of Calderón de la Barca
We are obviously no longer speaking of a suspended or eternal allegorical time. But while still in ‘real time’, the actors remain in costume, allowing them to play with their appearance just as other personifications did in the previous mojigangas. In the universe of this piece, the mojiganga is officially over, but the costume party spirit remains. While in Sitios and Los guisados, the costumes served to clarify the identities of those present onstage, in La muerte, the costumes are better described as disguises, as the actors onstage take on a double identity.
361, ll. 235–7. , p. 361, ll. 250–1. , p. 361, ll. 254–8. , p. 363, l. 280. qxd 28 23/09/03 11:22 AM Page 28 TED L. L. BERGMAN BETWEEN MOJIGANGA AND ENTREMÉS El pésame de la viuda is a mojiganga that approaches the other end of the spectrum first represented by Los sitios de recreación del Rey. The two pieces have much in common, but in the areas of plot, characterisation, setting and dialogue, Pésame lies much closer to the comedia. In Sitios and Los guisados, no setting is mentioned in the stage directions.
In Pésame, where no humour is derived from costumes alone, the characters can draw laughter from the audience as much through what they do as through what they say. Situational humour does not necessarily depend upon an interaction between characters but it does depend on a character’s physical reaction to their surroundings, whether it includes other characters or not. The main influence upon the plot of Pésame, that is, the way the characters behave, is the widow’s insistence on keeping up appearances while she yearns to do what is forbidden to her by custom.
The Art of Humour in the Teatro Breve and Comedias of Calderón de la Barca by Ted L.L. Bergman