Burlesque Comedy of the Spanish Golden Age: Parody, Nonsense, and Carnival
- Statement of Responsibility:
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Mata Induráin, Carlos
- Main Author:
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Mata Induráin, Carlos
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- Format:
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Journal article
- Language:
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English
- Form / Genre:
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text (article)
- Published:
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2018
- In:
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Hipogrifo: Revista de Literatura y Cultura del Siglo de Oro ISSN 2328-1308 Vol. 1, 2018, pags. 79-95
- Subjects:
- Annotation:
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This paper offers an approach to the main features and conventions of the burlesque comedy of the Spanish Golden Age, a corpus formed by about fifty parodic plays that were performed during Carnival and on St. John's Day as part of the court festivals celebrated in the Royal Palace or in the Buen Retiro palace complex. These two features (theatre of Carnival and courtier theatre) are the main key when analyzing these plays. The primary function of these pieces is to provoke laughter within the aulic audience -the king and his noblemen. To achieve this goal, authors of burlesque comedies use all of the resources at hand, including both scenic and verbal humor. The plays are marked by an absurd wit, and they bring on stage a carnivalesque world turned upside-down in which everything (including characters, plots, literary motifs, and dramatic conventions) is grotesquely parodied, brutally degraded, and made comical.
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| 520 | 3 | \ | |a This paper offers an approach to the main features and conventions of the burlesque comedy of the Spanish Golden Age, a corpus formed by about fifty parodic plays that were performed during Carnival and on St. John's Day as part of the court festivals celebrated in the Royal Palace or in the Buen Retiro palace complex. These two features (theatre of Carnival and courtier theatre) are the main key when analyzing these plays. The primary function of these pieces is to provoke laughter within the aulic audience -the king and his noblemen. To achieve this goal, authors of burlesque comedies use all of the resources at hand, including both scenic and verbal humor. The plays are marked by an absurd wit, and they bring on stage a carnivalesque world turned upside-down in which everything (including characters, plots, literary motifs, and dramatic conventions) is grotesquely parodied, brutally degraded, and made comical. |
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| 540 | \ | \ | |a LICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. Cualquier enlace al texto completo de estos documentos deberá hacerse a través de la URL oficial de éstos en Dialnet. Más información: https://dialnet.unirioja.es/info/derechosOAI | INTELLECTUAL PROPERTY RIGHTS STATEMENT: Full text documents hosted by Dialnet are protected by copyright and/or related rights. This digital object is accessible without charge, but its use is subject to the licensing conditions set by its authors or editors. Unless expressly stated otherwise in the licensing conditions, you are free to linking, browsing, printing and making a copy for your own personal purposes. All other acts of reproduction and communication to the public are subject to the licensing conditions expressed by editors and authors and require consent from them. Any link to this document should be made using its official URL in Dialnet. More info: https://dialnet.unirioja.es/info/derechosOAI |
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| 773 | |t Hipogrifo: Revista de Literatura y Cultura del Siglo de Oro |x 2328-1308 |g Vol. 1, 2018, pags. 79-95 | ||
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