Calderón Y El Barroco: Exaltación Y Engaño De Los Sentidos (purdue University Monographs In Romance Languages) (spanish Edition)

Amadei-Pulice examines the conflict between Lope's dramatic formula (comedia) and the new polytechnic formula that in the hands of Calderon merged dramatic poetry with visual and auditory effects (comedia de teatro). The author places the Spanish baroque theater within the wider context of a revolution in the theory of representation, signs, and meanings that took place at the beginning of the seventeenth century and marked the appearance of a new dramatic style: the stile rappresentativo. Special attention is given to the techniques and applications of perspectival scenery, stagecraft, optics, and the creation of visual and sound effects contributed by the Florentine melodramma. The highlighting of Italian dramatic theory and practice reveals that Calderon was an innovator and creator of a new concept in theater. Establishing The Notion Of Reasonable Foolishness And Foolish Reason As A Generic Principle Of The Old French Farce, Boucquey's Study Examines The Interdependencies Among Four Key Mimetic Phenomena: The Demented Universe Of The Feast Of Fools Festival, The Genre Of The Farce, Bruegel's Representation Of The World, And The Euphoric Comedies Of Triumphant Madness Created By Moliere. This Reinterpretation Of French Farce According To The Principle Of A Topsy-turvy World Reveals The Link Of Madness That Unites The Four Modes Of Production Studied, From Textual Linearity, Through Representational Surface, To Theatrical Three-dimensionality. Of Pluralist Conception, The Book's Eclectic Critical Apparatus Draws Readily On Foundations As Diverse As Historicism, Semiotics, Structuralism, Foucauldian, Theory, Iconography, Derridean Textualization, And Etymology. María Alicia Amadei-pulice. Includes Bibliographical References.