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Cumplirle a Dios la palabra
Cumplirle a Dios la palabra forma parte del centenar largo de comedias bíblicas de nuestro Siglo de Oro, la mayoría de las cuales apenas ha merecido atención por parte de los estudiosos y críticos, a pesar de constituir un corpus dramático lo suficientemente amplio y representativo, en el que tomaron parte los grandes ingenios del momento. Está inspirada en la historia del juez hebreo Jefté (Jueces, cap. 11), cuyo relato ofrece los suficientes ingredientes dramáticos para construir una pieza atractiva al público de la época: destierro de Jefté por parte de sus hermanos de padre, andanzas entre un grupo de maleantes, elección para comandar el ejército de Israel contra los amonita...
El Santo Cristo de Cabrilla
En la comedia "El Santo Cristo de Cabrilla" recrea Agustín Moreto los hechos sucedidos en torno al milagro de una reproducción del Cristo de Burgos en la villa jiennense de Cabrilla (luego conocida, precisamente por ello, como Cabra del Santo Cristo) a comienzos de 1637, siendo obispo de la diócesis de Jaén Baltasar de Moscoso y Sandoval. Este prelado pasaría luego a la sede arzobispal de Toledo, donde en 1657 puso al frente del Hospital de San Nicolás al ya entonces reconocido dramaturgo. Es presumible que el propio arzobispo o alguien de su entorno (primero en Jaén y después en la ciudad imperial) comentara aquellos sucesos a Moreto e incluso le animara a componer esta comedia. El desconocimiento de estas circunstancias ha llevado a la crítica a valorar indebidamente esta pieza teatral. Por fortuna disponemos ya de los elementos que nos permiten contextualizar el asunto de la comedia y, en consecuencia, poder valorarla en sus justos términos.
Nahuatl Theater
European religious drama adapted for an Aztec audience Don Bartolomé de Alva was a mestizo who rose within New Spain’s ecclesiastical hierarchy when people of indigenous heritage were routinely excluded from the priesthood. In 1640 and 1641 he translated several theatrical pieces from Spanish into Nahuatl, yet this prodigious accomplishment remained virtually unknown for centuries. Nahuatl Theater, Volume 3 presents for the first time in English the complete dramatic works of Alva, the only known plays from Spain’s Golden Age adapted into the lively world of Nahuatl-language theater. Alva’s translations—“The Great Theater of the World,” “The Animal Prophet and the Fortunate Pa...
Music and Modernity in Enlightenment Spain
By showing how music intersected with wider cultural affairs, such as philosophy and criticism, this book connects music and the modern in eighteenth-century Spain within the context of Enlightenment thought. Histories of modern Europe often present late eighteenth-century Spain as a backward place, haunted by the Inquisition and struggling to keep pace with modernity. While Spain under Charles III (1759-1788) pushed for economic and cultural modernization, many elites and the public at large resisted Enlightenment ideas. For conservatives, the modern would in time show its fragility, and Spain would withstand the collapse thanks to its firm grounding in the pillars of monarchy, religion, an...
Aztecs on Stage
Nahuatl drama, one of the most surprising results of the Catholic presence in colonial Mexico, merges medieval European religious theater with the language and performance traditions of the Aztec (Nahua) people of central Mexico. Franciscan missionaries, seeking effective tools for evangelization, fostered this new form of theater after observing the Nahuas’ enthusiasm for elaborate performances. The plays became a controversial component of native Christianity, allowing Nahua performers to present Christian discourse in ways that sometimes effected subtle changes in meaning. The Indians’ enthusiastic embrace of alphabetic writing enabled the use of scripts, but the genre was so unorthod...
