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By Ignacio Arellano
Los mejores libros jamás escritos.
«Yo que lo sé, que lo vi, que lo digo;
yo que lo vi, que lo digo y lo sé.»
Loas y entremeses, piezas teatrales de corta duración que solían acompañar con frecuencia a comedias y cars sacramentales, son dos de las formas de teatro breve más cultivadas por los grandes dramaturgos del Siglo de Oro. De simples introducciones al espectáculo y entretenimiento entre los diversos actos de las comedias, pasaron a ser verdaderas obras maestras de los angeles mano de autores como Lope de Rueda, Agustín de Rojas, Alonso de Castillo Solórzano, Hurtado de Mendoza, Calderón de los angeles Barca y, por supuesto, Miguel de Cervantes, cuyos entremeses son considerados una de las cimas del género.
Ignacio Arellano, uno de los máximos especialistas en literatura del Siglo de Oro, propone en este libro una cuidada selección de estas formas de teatro breve que ayudará al lector a comprender su génesis y evolución.
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Additional info for Teatro breve del Siglo de Oro: Loas y entremeses (Penguin Clásicos)
Fathers (or those substituting for them after their death) exploited their right to select their children's marriage partners to enlarge the family's estates, raise its social status, and increase its political power. In making their choices, fathers routinely ignored their children's preferences and subordinated their personal happiness to the interests of the patrilineage. A powerful combination of material and ideological factors ensured that most daughters and sons would accept the marriages negotiated for them Although fathers negotiated matches for both their daughters and sons, the burden of the arranged marriage weighed far more heavily on women than men ...
Bel-imperia's discovery of her love for Horatio has caused some discomfort, being seen, as Mulryne has it, as "sudden, unmotivated, and even (11. " 56 Yet what avails to wail Andrea's death, From whence Horatio proves my second love? Had he not loved Andrea as he did, He could not sit in Bel-imperia's thoughts. But how can lovefindharbour in my breast, Till I revenge the death of my beloved? Yes, second love shall further my revenge. I'll love Horatio, my Andrea's friend, The more to spite the prince that wrought his end.
Bel-imperia is the fateful object of desire for both men, but this formulation, like much else in both early and later modern thinking, can mask her agency as desiring subject. Each relationship proves a portmanteau of the categories of seizure, combining and recombining transgressive sexualities (extramarital relations, specular and ghostly voyeurisms); Bel-imperia's preferments of her base lovers, and Lorenzo's of Balthazar and Pedringano; Lorenzo's humiliations (received and imposed); everyone's experiences of betrayal, of nearly every bond; and the direct and vicarious physicalities of violation - by and of Bel-imperia, by and of her lovers, and by and of the murderers (nearly everyone in the play).
Teatro breve del Siglo de Oro: Loas y entremeses (Penguin Clásicos) by Ignacio Arellano