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Calderòn’s Dramatic Technique: The Orchestration of the Arts, from Drama to Opera

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Part of the Analecta Husserliana book series (ANHU, volume 63)

Abstract

It is now perfectly commonplace to consider that the simultaneous and general use of mythology, costumes, scenery and luxurious stage effects, together with music, song and dance in the theatre led to the development of opera. Of course, this occurred through a certain variety of national forms, due to separate experiences among the royal courts of Europe during the XVIIth century: in England the court masque, in France the ballet de cour, in Italy the mythological and pastoral intermezzi of Medici Florence. But the main influence and source for all remained the Italian experience, and even Spain — due to political ties with this country — could not avoid those prestigious musical and scenic models. That is why it is noteworthy to observe that the intermezzi themselves were the product of the joint activities of a large number of artists: musicians, playwrights, painters and architects,1 as can be seen in the meetings of the Camerata Fiorentina dei Bardi among which one can say that European opera was born by the very beginning of the XVIIth century. Thus arose at that time, from court performance to opera, the first form of the ideal of gesamtkunstwerk which was to have so much importance in the XIXth century.

Keywords

XVIIth Century Royal Court Court Performance Musical World Musical Element 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Bibliography

  1. Livermore, Ann, A Short History of Spanish Music,London: Duckworth, 1972 (see Chapter 4: “Music and the Spanish Drama”).Google Scholar
  2. Mckendrick, Malvena, Theatre in Spain (1490–1750), Cambridge U. P., 1983, chap. VIII.Google Scholar
  3. Sabik, Kazimierz, “La escenografia barroca italiana en el teatro de corte en Espana (1622–1658),” Actas del Congreso Internacional sobre Calderon y el teatro espanol del Siglo de Oro, vol. VIII, Anejos de la revista Segismundo (6), Madrid, 1983, pp. 1685–1690.Google Scholar
  4. Sage, Jack, “Calderón y la mùsica teatral,” Bulletin Hispanique, LVIII, 1956, p. 275.Google Scholar
  5. Sage, Jack, “La mùsica de Juan Hidalgo para Los celos hacen estrellas de Juan Vèlez de Guevarra,” in Los celos hacen estrellas, ed. J. E. Varey and N. D. Shergold, London: Tamesis Books, 1970, pp. 169–213.Google Scholar
  6. For the most important work about musical theory during the Baroque period in Spain, see: Lorente, Andrès (1624–1703), El porquè de la mùsica, first ed. Alcalà de Henares, 1672.Google Scholar

Copyright information

© Springer Science+Business Media Dordrecht 2000

Authors and Affiliations

  1. 1.Dijon UniversityFrance

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