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The prolific theatrical activity that abounded on the stages of
early modern Europe demonstrates that drama was a genre that
transcended national borders. The transnational character of early
modern theater reflects the rich admixture of various dramatic
traditions, such as Spain's comedia and Italy's commedia dell'arte,
but also the transformations across cultures of Spanish novellas to
French plays and English interludes. Of particular import to this
study is the role that women and gender played in this
cross-pollination of theatrical sources and practices. Contributors
to the volume not only investigate the gendered effect of Spanish
texts and literary types on English and French drama, they address
the actual journeys of Spanish actresses to French theaters and of
Italian actresses to the Spanish stage, while several emphasize the
movement of royal women to various courts and their impact on
theatrical activity in Spain and abroad. In their innovative focus
on women's participation and influence, the chapters in this volume
illustrate the frequent yet little studied transnational and
transcultural points of contact between Spanish theater and the
national theaters of England, France, Austria, and Italy.
The Baroque Spanish stage is populated with virile queens and
feminized kings. This study examines the diverse ways in which
seventeenth-century comedias engage with the discourse of power and
rulership and how it relates to gender. A privileged place for
ideological negotiation, the comedia provided negative and positive
reflections of kingship at a time when there was a perceived crisis
of monarchical authority in the Habsburg court. Author MarA a
Cristina Quintero explores how playwrights such as Pedro
CalderA(3)n de la Barca, Tirso de Molina, Antonio Coello, and
Francisco Bances Candamo--taking inspiration from legend, myth, and
history--repeatedly staged fantasies of feminine rule, at a time
when there was a concerted effort to contain women's visibility and
agency in the public sphere. The comedia's preoccupation with
kingship together with its obsession with the representation of
women (and women's bodies) renders the question of royal
subjectivity inseparable from issues surrounding masculinity and
femininity. Taking into account theories of performance and
performativity within a historical context, this study investigates
how the themes, imagery, and language in plays by CalderA(3)n and
his contemporaries reveal a richly paradoxical presentation of
gendered monarchical power.
The prolific theatrical activity that abounded on the stages of
early modern Europe demonstrates that drama was a genre that
transcended national borders. The transnational character of early
modern theater reflects the rich admixture of various dramatic
traditions, such as Spain's comedia and Italy's commedia dell'arte,
but also the transformations across cultures of Spanish novellas to
French plays and English interludes. Of particular import to this
study is the role that women and gender played in this
cross-pollination of theatrical sources and practices. Contributors
to the volume not only investigate the gendered effect of Spanish
texts and literary types on English and French drama, they address
the actual journeys of Spanish actresses to French theaters and of
Italian actresses to the Spanish stage, while several emphasize the
movement of royal women to various courts and their impact on
theatrical activity in Spain and abroad. In their innovative focus
on women's participation and influence, the chapters in this volume
illustrate the frequent yet little studied transnational and
transcultural points of contact between Spanish theater and the
national theaters of England, France, Austria, and Italy.
The Baroque Spanish stage is populated with virile queens and
feminized kings. This study examines the diverse ways in which
seventeenth-century comedias engage with the discourse of power and
rulership and how it relates to gender. A privileged place for
ideological negotiation, the comedia provided negative and positive
reflections of kingship at a time when there was a perceived crisis
of monarchical authority in the Habsburg court. Author MarA a
Cristina Quintero explores how playwrights such as Pedro
CalderA(3)n de la Barca, Tirso de Molina, Antonio Coello, and
Francisco Bances Candamo--taking inspiration from legend, myth, and
history--repeatedly staged fantasies of feminine rule, at a time
when there was a concerted effort to contain women's visibility and
agency in the public sphere. The comedia's preoccupation with
kingship together with its obsession with the representation of
women (and women's bodies) renders the question of royal
subjectivity inseparable from issues surrounding masculinity and
femininity. Taking into account theories of performance and
performativity within a historical context, this study investigates
how the themes, imagery, and language in plays by CalderA(3)n and
his contemporaries reveal a richly paradoxical presentation of
gendered monarchical power.
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