Música, espacio escénico y estructura dramática en "El Jardín de Falerina" de Calderón de la Barca
In 1934, Emilio Cotarelo described El Jardín de Falerina as the first theatrical work in which Calderón de la Barca essaied a new gender intended to be performed in Spanish Court, with a greater participation of music than any other work until its date, according to historian Cotarelo y Mori. The cr...
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| Format: | article |
| Publication Date: | 2003 |
| Country: | España |
| Institution: | Universidad de Alcalá (UAH) |
| Repository: | e_Buah Biblioteca Digital Universidad de Alcalá |
| Language: | Spanish |
| OAI Identifier: | oai:ebuah.uah.es:10017/4729 |
| Online Access: | http://hdl.handle.net/10017/4729 |
| Access Level: | Open access |
| Keyword: | Filología Philology Literatura Literature |
| Summary: | In 1934, Emilio Cotarelo described El Jardín de Falerina as the first theatrical work in which Calderón de la Barca essaied a new gender intended to be performed in Spanish Court, with a greater participation of music than any other work until its date, according to historian Cotarelo y Mori. The creation of this comedy was thus the beginning of a new dramatic gender: the zarzuela. During seventy years since Cotarelo's work, his opinión about the gender of El Jardín de Falerina has been worked out by several scholars, and the aim of the present work is to reconsider the position of this comedy within the theatrical production of Calderón. For this purpose, we are going to analize the role of music in relation to the scenic scheme and dramatic structure of this comedy. |
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