Nova umetnost ustvarjanja komedij v tem času ali španska komedija zlatega veka
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| Title | Nova umetnost ustvarjanja komedij v tem času ali španska komedija zlatega veka |
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| Abstract | This article presents the context of Spanish Golden Age art, especially drama, in which Félix Lope de Vega played an indispensable role. His comedy defied the rules of classical drama and sought to find a new and independent path within Baroque aesthetics. The golden age of Spanish art, especially literature, began right at the transition between the fi fteenth and sixteenth centuries, when poets, writers, and playwrights created a number of excellent works that qualitatively placed Spanish literature in an entirely new light. Since then, its contribution to laying the foundations for the modern age of European literature has been indispensable. During the Baroque period the Spanish world turned into a theatrum mundi; reality was becoming increasingly apparent, and life was a dream. Artists were looking for refuge either in the spiritual aesthetic of extreme alienation or in hermetic mockery of burlesque reality, which often led to harsh grotesque. However, for the artist, the most important freedom was still creativity. Through the entire sixteenth century, the Spanish theater combined classical satirical theater and popular art. Various types of drama, all referred to by the generic term “comedy,” were performed in corrales ‘urban courtyards’. The Comedia de corral had a dual objective: to entertain a heterogeneous audience and to address those more educated about the deeper issues of human existence. The Spanish theater received a final image with the comedies of Lope de Vega, who was also the founder of a new dramatic style and the most fruitful playwright of all time worldwide. His comedy has become a new drama form, based on the Spanish literary tradition but also classified in Baroque art aesthetics. The New Art of Writing Plays in Th is Time (1609) is a theoretical text by Lope de Vega on a new comedy, which he finally separated from Aristotle’s Poetics. In the text he indicated a revolutionary position for his time; namely, that creative freedom is the most important in artistic expression. The new art defended by Lope can be summarized in three key facts: in a comedy, the author must imitate human actions, show their customs and habits (these features do not differ from the defi nitions of mimesis), and, in particular, which is a real novelty, the playwright’s first duty is to hold and satisfy his audience. Th e comedia, he says in effect, developed in response to what the Spanish public demanded of the theater. The treatise, ironic to classic tendencies, especially Aristotle’s Poetics, provides the principles and conventions of a drama entitled to be called national in its close identification with the social values and emotional responses of the age. |
| Publisher | Znanstvena založba Filozofske fakulte / Ljubljana University Press, Faculty of Arts |
| Date | 1970-01-01 |
| Source | Ars & Humanitas: Revija za umetnost in humanistiko Vol 5, No 2 (2011) |
| Rights | @ Univerza v Ljubljani, Filozofska fakulteta |