Folding Space and Staging the Palace in the Baroque sainete : Antonio de Solís’ fin de fiesta to Triunfos de Amor y Fortuna (1658)
2008; Routledge; Volume: 85; Issue: 6 Linguagem: Inglês
10.1080/14753820802542291
ISSN1478-3428
Autores Tópico(s)Historical and Literary Analyses
ResumoClick to increase image sizeClick to decrease image size Notes 1See The Philosophy of Love in Spanish Literature, 1480–1680, ed. Terence O'Reilly (Edinburgh: Edinburgh U. P., 1985), and The Mind and Art of Calderón: Essays on the comedias, ed. Deborah Kong (Cambridge: Cambridge U. P., 1988). 2See Parker, The Mind and Art of Calderón, 330. For Varey's article, see ‘The Audience and the Play at Court Spectacles: The Role of the King’, BHS, LXI:3 (1984), 399–406. 3See Parker, The Mind and Art of Calderón, 331. 4See Claude-François Menestrier, Des representations en musique anciennes et modernes, facsimile of 1681 Paris edition (Genève: Minkoff, 1992), 171–74. 5See María Teresa Chaves Montoya, El espectáculo teatral en la corte de Felipe IV (Madrid: Ayuntamiento de Madrid, 2004), 185; and Carmen Sanz Ayán, Pedagogía de reyes: el teatro palaciego en el reinado de Carlos II (Madrid: Real Academia de la Historia, 2006), 140. 6See N. D. Shergold, A History of the Spanish Stage from Medieval Times until the End of the Seventeenth Century (Oxford: Clarendon Press, 1967), 349. 7On specular poetics, see my ‘Pedro Calderón de la Barca's Eco y Narciso: Court Drama and the Poetics of Reflection’, in Rewriting Classical Mythology in the Hispanic Baroque, ed. Isabel Torres (London: Tamesis, 2007), 119–27. 8See Gilles Deleuze, The Fold: Leibniz and the Baroque, trans. Tom Conley (London/New York: Continuum, 2003), 4. 9For Solís’ use of the term sainete, see Manuela Sánchez Regueira's comments in her edition of Solís, Obra dramática menor (Madrid: CSIC, 1986), 7, 17. Quotations from the sainete will be from this edition, and are modernized. When I have occasionally emended this edition—following the text printed in Luis de Ulloa, Fiestas que se celebraron en la Corte por el nacimiento de don Felipe Próspero, Príncipe de Asturias (no place, no publisher, no date)—the emendation is simply inserted in square brackets. 10For Triunfos, see Antonio de Solís, Comedias, ed. Manuela Sánchez Regueira, 2 vols (Madrid: CSIC, 1984) I, 49–145. Future references to Triunfos are to this edition and have been modernized. 11See Jerónimo de Barrionuevo, Avisos (1654–1658), ed. A. Paz y Melia, 2 vols (Madrid: Atlas, 1968/1969), II, 149. 12See Frédéric Serralta, ‘Nueva biografía de A. de Solís y Rivadeneyra’, Criticón, 34 (1986), 51–157 (pp. 97, 94). 14See Méndez Silva, Gloriosa celebridad de España en el feliz nacimiento y solemnísimo bautismo de su deseado príncipe D. Felipe Próspero, hijo del gran monarca D. Felipe IV y de la esclarecida reina D. Mariana de Austria (Madrid: Francisco Nieto de Salcedo, 1658), 32r–v. 13Stein speculates that Baccio may have originally designed the scenes and machines for the play: see Louise K. Stein, Songs of Mortals, Dialogue of the Gods. Music and Theatre in Seventeenth-century Spain (Oxford: Clarendon Press, 1993), 282, n. 58. On Antonozzi, see Chaves Montoya, Espectáculo teatral, 265–71; Juan Ramón Sánchez del Peral y López, ‘Antonio María Antonozi, ingeniero de las comedias del Buen Retiro (1657–1662). Nuevos datos para la biografía de un inventor de “maravillosas apariencias” ’, Archivo Español de Arte, 80 (2007), 261–73; and Shergold, History of the Spanish Stage, 320–24. 15On the significance of aspects of its staging, see Shergold, History of the Spanish Stage, 323. 16See Solís, Obra dramática menor, 175. Serralta interprets the words as a means of stopping the audience from leaving after the comedia's close. See ‘Antonio de Solís y el teatro menor en palacio (1650–1660)’, in El teatro menor en España a partir del siglo XVI (Madrid: CSIC, 1983), 155–72 (p. 166). Compare Chaves Montoya, Espectáculo teatral, 276. 17See the mojiganga in Calderón, El golfo de las sirenas, ed. Sandra L. Nielsen (Kassel: Edition Reichenberger, 1989), 119–20, and Nielsen's comments, 33. Compare María Luisa Lobato, ‘Calderón, cisne de Manzanares: loas cortesanas y conciencia artística’, BHS (Glasgow), LXXVII:1 (2000), 357–89 (p. 365). 18See María Luisa Lobato, ‘Un actor en Palacio: Felipe IV escribe sobre Juan Rana’, Cuadernos de Historia Moderna, 23 (1999), 79–111. 19Mateo de Godoy and Pedro la Rosa, for example, are referred to by name whilst on stage (Solís, Obra dramática menor, 176, 178). 20Given Cosme Pérez's well known association with homosexuality, in calling his character in Triunfos Coridón, and making him suffer from unrequited love for Siques, Solís is comically recalling Virgil's shepherd Corydon and his love for Alexis in the second eclogue. On the subject of homosexuality and Cosme Pérez, see Peter E. Thompson, The Triumphant Juan Rana: A Gay Actor of the Spanish Golden Age (Toronto: Univ. of Toronto Press, 2006); and Frédéric Serralta, ‘Juan Rana homosexual’, Criticón, 50 (1990), 81–92. 22See Solís, Obra dramática menor, 180. In Ulloa's Fiestas, this speech is split between Bernarda and Aguado. 21The ‘siete cabrillas’ are presumably a comic reference to Capricorn, and Amalthea's horn of plenty, an apposite reference given the occasion celebrated. 23See Caldéron, La púrpura de la rosa, ed. Ángeles Cardona, Don Cruickshank and Martin Cunningham (Kassel: Edition Reichenberger, 1990), 162 (ll. 450–56). 24Contemporary accounts record the population rushing to the Alcázar and the theatricals there and in Madrid in early December when Philip went to give thanks to the Virgin of Atocha (Silva, Gloriosa celebridad, 7v, 9v–10v). Lobato mentions that Juan Rana acted with Francisco García's company on one of the stages set up on the king's route to Atocha and suggests that the sainete's conclusion represents this (‘Un actor en Palacio’, 100). 25For these performances, see Silva, Gloriosa celebridad, 30v; Ulloa, Fiestas; and Barrionuevo, Avisos, II, 161. 26See Calderón, Comedias, ed. Juan Eugenio Hartzenbusch, 4 vols, BAE (reprinted Madrid: Atlas, 1944–1945), IV (1945), 391. For the real Alcázar's temporary decoration, see Teresa Zapata Fernández de la Hoz, La entrada en la Corte de María Luisa de Orleans: Arte y fiesta en el Madrid de Carlos II (Madrid: Fundación de Apoyo a la Historia del Arte Hispánico, 2000), 189–94, 237. 27See Solís, Obra dramática menor, 57. 28See Varey, ‘Andrómeda y Perseo, comedia y loa de Calderón: afirmaciones artísticoliterarias y políticas’, Revista de Musicología, 10 (1987), 529–45 (p. 537). 29See Serralta, ‘Antonio de Solís y el teatro menor’, 166–67. As Seralta also indicates, this is an excellent example of how dramatists tended to culminate such pieces with ‘una especie de aceleración final en la cual intervienen todos los elementos festivos y circunstanciales’ (166). 30As Deleuze, talking of the monad, says, ‘the entire world is enclosed in the soul from one point of view’ (The Fold, 24). 31See Deleuze, The Fold, 30.
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