Editing Baroque (section)

===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]]''.