Editing Baroque (section)

==Theatre==
[[File:Set design Act5 of Andromède by P Corneille 1650 - Gallica.jpg|thumb|250px|right|Set design for ''Andromedé'' by [[Pierre Corneille]], (1650)]]
[[File:Design for a theater set created by Giacomo Torelli da Fano for the ballet 'Les Noces de Thétis', from 'Décorations et machines aprestées aux nopces de Tétis, Ballet Royal' MET DP855549.jpg|thumb|250px|right|Design for a theater set created by [[Giacomo Torelli]] for the ballet ''Les Noces de Thétis'', from ''Décorations et machines aprestées aux nopces de Tétis, Ballet Royal'']]

The Baroque period was a golden age for theatre in France and Spain; playwrights included [[Pierre Corneille|Corneille]], [[Jean Racine|Racine]] and [[Molière]] in France; and [[Lope de Vega]] and [[Pedro Calderón de la Barca]] in Spain.

During the Baroque period, the art and style of the theatre evolved rapidly, alongside the development of opera and of ballet.  The design of newer and larger theatres, the invention the use of more elaborate machinery, the wider use of the [[proscenium arch]], which framed the stage and hid the machinery from the audience, encouraged more scenic effects and spectacle.<ref>{{cite encyclopedia|encyclopedia=Encyclopædia Britannica|title=Baroque theatres and staging|url=https://www.britannica.com/art/theater-building/Baroque-theatres-and-staging|access-date=2019-11-14}}</ref>

The Baroque had a Catholic and conservative character in Spain, following an Italian literary model during the Renaissance.{{sfnp|González Mas|1980|pp=1–2}} The Hispanic Baroque theatre aimed for a public content with an ideal reality that manifested fundamental three sentiments: Catholic religion, monarchist and national pride and honour originating from the chivalric, knightly world.{{sfnp|González Mas|1980|p=8}}

Two periods are known in the [[Spanish Golden Age theatre|Baroque Spanish theatre]], with the division occurring in 1630. The first period is represented chiefly by [[Lope de Vega]], but also by [[Tirso de Molina]], [[Gaspar Aguilar]], [[Guillén de Castro]], [[Antonio Mira de Amescua]], [[Luis Vélez de Guevara]], [[Juan Ruiz de Alarcón]], [[Diego Jiménez de Enciso]], [[Luis Belmonte Bermúdez]], [[Felipe Godínez]], [[Luis Quiñones de Benavente]] or [[Juan Pérez de Montalbán]]. Many of these figures attended [[Academia literaria|''academias literarias'']] (literary academies) including the famous [[Medrano Academy]] founded by [[Sebastian Francisco de Medrano|Sebastián Francisco de Medrano]]. The second period is represented by [[Pedro Calderón de la Barca]] and fellow dramatists [[Antonio Hurtado de Mendoza]], [[Álvaro Cubillo de Aragón]], [[Jerónimo de Cáncer]], [[Francisco de Rojas Zorrilla]], [[Juan de Matos Fragoso]], [[Antonio Coello y Ochoa]], [[Agustín Moreto]], and [[Francisco Bances Candamo]].{{sfnp|González Mas|1980|p=13}} These classifications are loose because each author had his own way and could occasionally adhere himself to the formula established by Lope. It may even be that Lope's "manner" was more liberal and structured than Calderón's.{{sfnp|González Mas|1980|p=91}}

Lope de Vega introduced through his ''Arte nuevo de hacer comedias en este tiempo'' (1609) the ''new comedy''. He established a new dramatic formula that broke the three [[Aristotle]] unities of the Italian school of poetry (action, time, and place) and a fourth unity of Aristotle which is about style, mixing of tragic and comic elements showing different types of verses and stanzas upon what is represented.<ref>Lope de Vega, 2010, Comedias: El Remedio en la Desdicha. El Mejor Alcalde El Rey, pp.&nbsp;446–447</ref> Although Lope has a great knowledge of the plastic arts, he did not use it during the major part of his career nor in theatre or scenography. The Lope's comedy granted a second role to the visual aspects of the theatrical representation.{{sfnp|Amadei-Pulice|1990|p=6}}

Tirso de Molina, Lope de Vega, and Calderón were the most important play writers in Golden Era Spain. Their works, known for their subtle intelligence and profound comprehension of a person's humanity, could be considered a bridge between Lope's primitive comedy and the more elaborate comedy of Calderón. Tirso de Molina is best known for two works, ''The Convicted Suspicions'' and ''[[The Trickster of Seville]]'', one of the first versions of the [[Don Juan]] myth.<ref>Wilson, Edward M.; Moir, Duncan (1992). ''Historia de la literatura española: Siglo De Oro: Teatro'' (1492–1700). Editorial Ariel, pp.&nbsp;155–158</ref>

Upon his arrival to Madrid, [[Cosimo Lotti]] brought to the Spanish court the most advanced theatrical techniques of Europe. His techniques and mechanic knowledge were applied in palace exhibitions called "Fiestas" and in lavish exhibitions of rivers or artificial fountains called "[[Naumachia|Naumaquias]]". He was in charge of styling the Gardens of [[Buen Retiro]], of [[Palace of Zarzuela|Zarzuela]], and of [[Royal Palace of Aranjuez|Aranjuez]] and the construction of the theatrical building of Coliseo del Buen Retiro.{{sfnp|Amadei-Pulice|1990|pp=26–27}} Lope's formulas begin with a verse that it unbefitting of the palace theatre foundation and the birth of new concepts that begun the careers of some play writers like Calderón de la Barca. Marking the principal innovations of the New Lopesian Comedy, Calderón's style marked many differences, with a great deal of constructive care and attention to his internal structure. Calderón's work is in formal perfection and a very lyric and symbolic language. Liberty, vitality and openness of Lope gave a step to Calderón's intellectual reflection and formal precision. In his comedy it reflected his ideological and doctrine intentions in above the passion and the action, the work of [[Autos sacramentales]] achieved high ranks.<ref>Molina Jiménez,  María Belén (2008). El teatro musical de Calderón de la Barca: Análisis textual. EDITUM, p. 56</ref> The genre of Comedia is political, multi-artistic and in a sense hybrid. The poetic text interweaved with Medias and resources originating from architecture, music and painting freeing the deception that is in the Lopesian comedy was made up from the lack of scenery and engaging the dialogue of action.{{sfnp|Amadei-Pulice|1990|pp=6–9}}

The best known German playwright was [[Andreas Gryphius]], who used the Jesuit model of the [[Netherlands|Dutch]] [[Joost van den Vondel]] and [[Pierre Corneille]]. There was also [[Johannes Velten]] who combined the traditions of the English comedians and the [[commedia dell'arte]]  with the classic theatre of [[Pierre Corneille|Corneille]] and [[Molière]]. His touring company was perhaps the most significant and important of the 17th century.

The foremost Italian baroque tragedian was [[Federico Della Valle]]. His literary activity is summed up by the four plays that he wrote for the courtly theater: the [[tragicomedy]] ''Adelonda di Frigia'' (1595) and especially his three tragedies, ''Judith'' (1627), ''Esther'' (1627) and ''La reina di Scotia'' (1628). Della Valle had many imitators and followers who combined in their works Baroque taste and the didactic aims of the Jesuits ([[Francesco Sforza Pallavicino]], [[Girolamo Graziani]], etc.)

In the [[Tsardom of Russia]], the development of the Russian version of Baroque took shape only in the second half of the 17th century, primarily due to the initiative of tsar [[Alexis of Russia]], who wanted to open a court theatre in 1672. Its director and dramatist was Johann Gottfried Gregorii, a German-Russian Lutheran pastor, who wrote, in particular, a 10-hour play ''The Action of Artaxerxes''. The dramaturgy of [[Symeon of Polotsk]] and [[Demetrius of Rostov]] became key contribution to the Russian Baroque.<ref>{{cite book |surname=Kahn |given=Andrew |surname2=Lipovetsky |given2=Mark |author-link2=Mark Lipovetsky |surname3=Reyfman |given3=Irina |surname4=Sandler |given4=Stephanie |title=A History of Russian Literature |year=2018 |place=Oxford |publisher=Oxford University Press |url={{Google books|id=7qZTDwAAQBAJ|plainurl=y|page=|keywords=|text=}} |pages=153–157 |isbn=978-0-19-966394-1}}</ref>

===Spanish colonial Americas===
Following the evolution marked from Spain, at the end of the 16th century, the companies of comedians, essentially transhumant, began to professionalize. With professionalization came regulation and censorship: as in Europe, the theatre oscillated between tolerance and even government protection and rejection (with exceptions) or persecution by the Church. The theatre was useful to the authorities as an instrument to disseminate the desired behavior and models, respect for the social order and the monarchy, school of religious dogma.<ref name="MayaRamos">{{cite book|url=https://books.google.com/books?id=JaQTBUKYfSgC&pg=PA77|pages=79–80, 85–86, 133–134, 141|title=América y el teatro español del Siglo de Oro. II Congreso Iberoamericano del Teatro – Tercera ponencia: Actores y compañías de América durante la época virreinal|location=Cádiz|date=1996|publisher=Publications Service of the University of Cádiz|isbn=84-7786-536-1|author1=Maya Ramos Smith|author2=Concepción Reverte Bernal|author3=Mercedes de los Reyes Peña}}</ref>

The ''corrales'' were administered for the benefit of hospitals that shared the benefits of the representations. The itinerant companies (or "of the [[League (unit)|league]]"), who carried the theatre in improvised open-air stages by the regions that did not have fixed locals, required a viceregal license to work, whose price or ''pinción'' was destined to alms and works pious.<ref name="MayaRamos" /> For companies that worked stably in the capitals and major cities, one of their main sources of income was participation in the [[Corpus Christi (feast)|festivities of the Corpus Christi]], which provided them with not only economic benefits, but also recognition and social prestige. The representations in the viceregal palace and the mansions of the aristocracy, where they represented both the comedies of their repertoire and special productions with great lighting effects, scenery, and stage, were also an important source of well-paid and prestigious work.<ref name="MayaRamos" />

Born in the Viceroyalty of [[New Spain]]<ref>According to the playwright's own statements, he was born in Mexico City in 1580 or 1581. However, a baptismal certificate dated December 30, 1572 has been found in Taxco, belonging to a boy named Juan, son of Pedro Ruiz de Alarcón and Leonor de Mendoza, the poet's parents. Despite Alarcón's statements, most critics consider Taxco his birthplace. See Lola Josa, [http://www.cervantesvirtual.com/obra/juan-ruiz-de-alarcn-y-su-nuevo-arte-de-entender-la-comedia-0/ Juan Ruiz de Alarcón y su nuevo arte de entender la comedia], Madrid, International Association of Hispanists, 2008, pp. 7–14.</ref> but later settled in Spain, [[Juan Ruiz de Alarcón]] is the most prominent figure in the Baroque theatre of New Spain. Despite his accommodation to Lope de Vega's new comedy, his "marked secularism", his discretion and restraint, and a keen capacity for "psychological penetration" as distinctive features of Alarcón against his Spanish contemporaries have been noted. Noteworthy among his works ''[[La verdad sospechosa]]'', a comedy of characters that reflected his constant moralizing purpose.<ref name="MayaRamos" /> The dramatic production of Sor [[Juana Inés de la Cruz]] places her as the second figure of the Spanish-American Baroque theatre. It is worth mentioning among her works the [[Autos sacramentales|auto sacramental]] ''[[El divino Narciso (auto sacramental)|El divino Narciso]]'' and the comedy ''[[Los empeños de una casa]]''.