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Art and Power in the Spectacle Plays of Calderón de la Barca

Published online by Cambridge University Press:  23 October 2020

Margaret Rich Greer
Margaret Rich Greer*
Affiliation:
Princeton University, Princeton, New Jersey
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Abstract

The court spectacle plays of Calderón de la Barca, when viewed within their historical, physical, and dramatic context, reveal a polysemous structure of meaning that both supports and criticizes the ruling monarch. The first of these, El mayor encanto amor, reproves Philip iv's pursuit of sensual pleasures in time of war and his surrender of power to his prime minister; the last, Hado y divisa de Leonido y Marfisa, attempts to forge a credibly regal image of the weak Charles ii. These plays dramatize the belief that the polyphonic richness of theatrical representation can not only serve and guide the king but also generate his authority, that the proper constitution of the central figure in the theater of power may depend on the power of theater.

Type
Research Article
Information
PMLA , Volume 104 , Issue 3 , May 1989 , pp. 329 - 339
Copyright
Copyright © Modern Language Association of America, 1989

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