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Thesis (doctorat d'Etat)--Université de Bourgogne (Dijon), 1987. / "Avec la collaboration du GRECO 130-030 C.N.R.S."--Cover. Includes bibliographical references (p. [557]-571) and index.

Thesis (doctorat d'Etat)--Université de Bourgogne (Dijon), 1987. / "Avec la collaboration du GRECO 130-030 C.N.R.S."--Cover. Includes bibliographical references (p. [557]-571) and index.

The great literary movements affected Spanish drama less than that of any other country, though romanticism drew the public and stage closer. Realism and naturalism were slow in developing due to the "manifest incompatibility existing between the very spirit of the French realists and the Spanish national dramatic ideals."2 Spanish national drama deals in elemental passions, is poetic in situations, and magnificently conventional in tone; while its literary form is more important than its dramatic structure.2 French literature contains fine and subtle psychology, witty and ingenious, but is sometimes a little unsubstantial. Not universal theme but complex and involved feelings are characteristic. Spain has been slow to appreciate the modern French realistic play; indeed she has never adopted it in its original form. Attempts to imitate Ibsen3 and the foreign symbolism of Maeterlinck have been unsuccessful. The modern movement in the theatre starts at the end of the nineteenth century. Of all the writers the man most responsible for introducing modern drama, as we understand it in Europe, was Jacinto Benavente. No consideration of the modern theatre would be complete without a discussion of this interesting and brilliant dramatist. Wherever reforms have been accomplished, wherever barriers have been broken down, wherever new paths have been formed, he has been the leader.1 He is generally considered the greatest living dramatist in Spain, and worthy to rank with the best in any country. Of all the realistic dramatist of our time none is more realistic than Benavente. New ideals of literature and art, the method of the modern dramatist, more refined, more serious in aim than of old -- these are some of his contributions to modern drama. He has reacted on the drama and compelled it to change its traditional conventions for modern stage technique. Benavente is to be the master builder of modern Spanish drama; at the same time he mirrors the society of his time, its virtues and vices.

One of the most widely discussed movements of modern Spain is the activity of a literary school usually termed the Generation of '98. The Spanish American War proved to be the final humiliation of a century of political and economic decline in Spain. A group of young men decided that something must be done to save Spain from crumbling to pieces before their very eyes. They loved their country, and its decline made them heart-sick. They knew something must be done to startle the people and to make them realize that they were no longer living in the Golden Age when Spain was a great power. They wished to make their countrymen look forward and not backward. This group of men were intellectuals. They were novelists, dramatists, critics, publishers, historians, professors, and editors of magazine and newspapers. As we see, they were all men of letters. Jacinto Benavente was born in Madrid in 1866 and spent the early years of his childhood in this city. Benavente's first important publication was a book of poems imitating for the most part Campoamor and Becquer.2 Benavente also published essays on various subjects. The most interesting of these for the purpose of this study were Cartas de Mujeres, because it shows that Benavente exhibits one of the tendencies of the Generation of '98. Martinez Sierra is generally considered a member of the Generation of '98 Because of this optimism, Sierra does not deal a great deal with the social and political problems of Spain. He writes simplify of the great masses telling the commonplace happenings of their lives.

Cette thèse a pour objet d’étudier le personnage de la reine transgressive sur la scèneespagnole du Siècle d’Or à partir d’un corpus de huit comedias publiées entre 1609 et 1653 pardes dramaturges célèbres (Virués, Tirso de Molina, Guillén Rojas Zorrilla, Lope de Vega,Calderón de la Barca). L’introduction permet d’asseoir les bases d’une réflexion qui entendfaire émerger des types de reines particulières, des figures héritées d’une traditionmythologique, biblique ou historique. Un double critère a contribué à sélectionner le corpus età établir un plan : le rapport du personnage féminin au pouvoir et son lien avec une violencequi conduit nécessairement à un ou plusieurs crimes. Les chapitres de la première partie del’étude prennent en compte le cadre historique, social et idéologique de la figure de la reinedans la lignée des gender studies et analysent des exemples de souveraines qui à la foisdérangent, troublent mais fascinent. Notre référence-clé est celle de la reine-roi, un personnageexcessif qui subvertit les normes du genre et de l’autorité jusqu’à devenir un rôle d’exceptionpour les actrices de l’époque. La deuxième partie s’intéresse aux accès au pouvoir de la reineroi,à son exercice et à ses dérives tyranniques. L’analyse porte essentiellement sur les outilspropres à la scénographie, le travestissement mais aussi à la rhétorique. Dans une dernière partie sont abordées les perspectives psychologiques, criminologiques et judiciaires des violencescommises par les reines. Nous postulons des déviances parfois proches de folies ou depathologies irréversibles qui trouvent un dénouement exceptionnel sur la scène, à la hauteur de ces femmes hors normes. / The object of this thesis is to examine the character of the transgressive queen on theSpanish stage of the Golden Age, from a corpus of eight comedias published between 1609 and1653 by well-known dramatists (Virués, Tirso de Molina, Guillén de Castro, Rojas Zorrilla,Lope de Vega, Calderón de la Barca). The introduction helps to lay the foundations of a thoughtprocess which aims to bring out specific types of queens, inherited figures from a mythological,biblical or historical tradition. Two criteria contributed to selecting the corpus and shaping aplan - the female character’s relationship with power and her ties to violence which inevitablylead her to commit one or more crimes. The chapters in the first part of the study take intoaccount the historical, social and ideological representations of the Queen in line with thegender studies, and analyse examples of sovereigns that are both disturbing and unsettling andyet fascinating. Our key reference is the Queen-King – an excessive character subverting thegender and authority standards and whose role will be exceptional for actresses at the time. Thesecond part looks into the Queen-King access to power, her reign and her tyrannical outbursts.The analysis mainly pertains to the tools of scenography, of distortion but also of rhetoric. Thelast part deals with the psychological, criminal and judicial perspectives of violence, committedby the queens. We claim that some of the deviances occasionally border on madness orirreversible pathologies which find an exceptional outcome on stage, worthy of theseoutstanding women.

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This dissertation focuses on the elements of performance that contribute to the actress's development of somatic practices. By mastering the art of articulation and vocalization, by transforming their bodies and their environment, these actors created their own agency. The female actors lived the life of the characters they portrayed, which were full of multicultural models from various social and economic classes. Somaesthetics, as a focus of sensory-aesthetic appreciation and somatic awareness, provides a pragmatic approach to understanding the unique way in which the woman of the early modern Spanish stage, while dedicating herself to the art of acting, challenged the negative cultural and social constructs imposed on her. Drawing from early modern plays and treatises on the precepts and practices of the acting process, I use somaesthetics to shed light on how the actor might have prepared for a role in a comedia, selfconsciously cultivating her body in order to meet the challenges of the stage. / by Elizabeth Marie Cruz Peterson. / Thesis (Ph.D.)--Florida Atlantic University, 2013. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.