A discussion of a sample of the plays by Lope de Vega
The Gardener’s Dog: A Comedy The meaning of the title, a plot summary, the major themes.
Punishment Without Vengeance: A Tragedy. A plot summary, it’s debt to Seneca, the ironic triangle of anti-heroes, the question of incest, and the violence of the honour culture. The historical context of the play.
Realism in the plays.
The plays of intrigue
The role of the leading female character, the ‘Dama’
Sheep Well. The plot Summary. The communist reading of the play. Countryside Vs the city. The satisfaction of honour.
The Life of Lope de Vega, greatest dramatist of the Spanish Renaissance Theatre. He had a very full life which was not just confined to writing plays, but his output was prolific on a scale that has not been matched before or since. This is his story.
Then a short overview of what was special about his plays, his attitude to Aristotle and his prescriptions on the use of poetry.
A word on the inevitable comparison with Shakespeare.
Continuing the story of the development of theatre through the early Spanish renaissance via the life and works of the playwrights. With apologies for the slightly raspy ‘post-covid’ throat at the time of recording. I hope it does not spoil your enjoyment of the episode.
Gil Vicente, the only Portuguese playwright of the period, but one who worked across the Spanish peninsular and produced influential works.
Lope de Rueda took theatre to the masses and produced the first truly commercial theatre of the period.
Alonso de la Vega, an acting pulp of Rueda who advanced the mixing of secular and […]
In this third part of the story of theatre in the Italian Renaissance the counter reformation overshadows the work of playwrights.
We conclude the story of Giovan Maria Cecchi with a look at his later sacred drama that still managed to amuse and entertain.
The plays of Leone de’Sommi are mostly lost thanks to a library fire, but his surviving plays are of interest as we see a Jewish playwright operating both in and for the culture of his community and in the context of broader renaissance theatre.
The review concludes with the work of Giambattista della Porta, a Neapolitan playwright who […]
Continuing from the last episode with more comedic dramatists from the Italian renaissance we meet Angelo Beolco who, under the tutorage of Ariosto, created, and became synonymous with, the character of Ruzzante.
Then on to Alessandro Piccolomini and Giovan Maria Cecchi, who both left indelible traces on the development of comedy in the sixteenth century.
In the first part of season four we bridge the gap between the Medieval and Renaissance periods with a mention of the key artistic movements and historical events that can be used to mark the beginning of the period.
How theatre looked back to the rediscovered plays of Ancient Greece and Rome and the writings of Vitruvius on Theatre Architecture.
The earliest plays of the period, showing how the Renaissance got started in the late 1300s.
A word on the development of Opera and Ballet.
For the chance to see Lazarus Theatre production of Salome by Oscar Wilde on line until 5th December […]