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Yet Catedra's search of Spanish libraries uncovered no illustrated manuscripts of Terence. The boys, removing the white cloth as if it were a shroud from the alter, respond: He is not here Conversely, a fourteenth-century breviary from the same monastery offers the complete dialogue in lieu of the rubrics: Angeli ad Mulieres dicunt: Quem queritis in sepulchro, o Christi- cole? Elsewhere in Europe Varey notes that the First Council of Aries AD excommunicated actors and charioteers who refused to aban- don their professions; the Third Council of Carthage AD admitted actors into the fold only after they had renounced the theater; the Councils of Rome and Constantinople declared mimes and spectacles off limits to the clergy. Varey, and Charles Davis contain documents related to performances in the Madrid theaters. When we consider the pronounced textual and stylistic differences recorded in the surviving cycles, the loss of the other registers becomes a tragedy. Most are religious dramas or consuetasy written for performance during the Christmas and Easter seasons, but there are also dramatizations of other events in Christ's life as well as saints' plays. Certificado 72 h.
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Carlos Perez Villamil illustrator. Comedia Grayandora. Francisco Vazquez. Farsa del nacimiento, en coplas.
Estudios Sobre Teatro Medieval (Spanish Edition) [Josep Lluís Sirera] on mousgardburtandpu.gq *FREE* shipping on qualifying offers. Se publican en este volumen una. Estudios Sobre Teatro Medieval at mousgardburtandpu.gq - ISBN - ISBN - Publicacions Universitat de Valencia - " synopsis" may belong to another edition of this title. From Spain to United Kingdom.
Comedia llamada Flerida, en coplas. Ventura Vergara. Farsa con diez personas. Among the rehgious plays are five Nativity pieces, one Passion play, two Resurrec- tion dramas, a saint's play, and a Comedia en coplas de Joseph all testify- ing to a thriving biblical theater. The picture emerges then of a court theater in Castile in the early sixteenth century that was far more extensive than the extant record suggests. In fact, one is left with the distinct impression that theatrical activity was booming and that Encina was hardly alone in writing for the stage.
Yet significant numbers of these early plays may be irretriev- ably lost. Moreover, information on the socioeconomic conditions of the early court theater and the nature of the performances hardly compares with the wealth of material for the seventeenth-century drama. Whereas many plays composed for the nobility endured because they were published in collections or individually as part of the chap- book trade, popular drama, including religious plays called autos written for street performance, met a different fate.
In the period from to wandering players must have performed thousands of autos of which only a few hundred remain. Nor is there any assurance that the best have survived. What has endured are manuscripts belong- ing to traveling companies or municipalities in which the plays may well embody abridged, reworked, or adulterated texts. It is a handwritten manuscript of four hundred thirty-nine folios belonging to the reign of Felipe II.
At some point the writing, copied originally by a single hand, so deteriorated that a careless scribe set himself the task of restoring it. This extraordinary collection belonged to the family of Antonio Porcel until it was purchased in by Eugenio Tapia, director of the Biblioteca Nacional MS 14, Some of these same plays were later recopied in a modem hand into a series of notebooks that were owned at one time by Manuel Canete and are currently housed in the Biblio- teca Menendez Pelayo. Not surprisingly, these biblical, hagiographical, and allegorical plays are anonymous works save the Auto de Cain y Abel by Jaime Ferruz.
Unfortunately the first eight folios, which possibly contained valuable information about the date of composition and the nature of the collection, are missing. Perez Priego, 7. Each year several plays were selected for the feast of Corpus Christi, although the records show that at least one, an Auto de la Resurreccion, was staged in Madrid on Easter Simday, Unlike the plays designed for court entertain- ment, however, these scripts never enjoyed the prestige of appearing in print until Leo Rouanet published them in Flecniakoska believes they should be viewed less as a single entity than as a heterogeneous sampling of one-act religious plays from the second half of the six- teenth century.
In addition, the Spanish visionary Sor Juana de la Cruz from the Francis- can convent of Santa Maria de la Cruz near Toledo, requested two religious plays, one a rremembranga de todos los mdrtires for the feast of St. Lawrence, and the other a rremembranga e auto de la Asuncion for the feast of the Assimiption.
Moreover, an extant Assumption play may be the one commissioned by Sor Juana since its content parallels Sor Juana's specific instructions. Also extant is the text of an Auto de la Pasion, attributed to Alonso del Campo.
Perez Priego, 9. Despite allusions to them in church and municipal records, no extant plays have turned up from Avila, Seville, Salamanca, or Oviedo. Their disappearance is a serious loss because, while traveling companies took their repertory on the road, there is reason to believe that individual towns also produced their own unique collections that differed significantiy from one another.
The record from eastern Spain is hardly more encouraging.
Of the twelve Valencian Corpus Christi plays known to have existed only three texts survive, copied in by Josef Gomar, "cantor y ministril de la ciudad de Valencia" "singer and musician from the city of Valencia". Moreover, Gomar's manuscript lacks punctuation, admits many defective lines, and tolerates needless repetitions. The collection, now housed in the Biblioteca de Catalunya, was prepared by Miguel Pascual, native of Buger, in Of the forty-nine plays, five are in Castilian.
Most are religious dramas or consuetasy written for performance during the Christmas and Easter seasons, but there are also dramatizations of other events in Christ's life as well as saints' plays. These plays, however, were designed for staging in the churches rather than in the streets of eastern Spain, and boast elaborate stage directions. The Corpus Christi cycles, which were immensely popular for two hundred years and were probably more polished than their Spanish counterparts, were never printed because no publisher would touch them after the Protestant Reformation.
So the York, Wakefield, N-Town, and Coventry cycles survive in single manuscripts, whereas the Chester cycle boasts five copies, executed between and Several consuetas have now been published.