Abstract
A common feature of the Spanish Baroque Theatre was the embodiment of dynamic storylines which gravitated around epistemic dualities, being one of the most interesting features, especially the emotional effects caused to the audience which consisted of concealment/disclosure of the real identity of any of the characters involved in the dramatic action. Our purpose is to study an early Calderon de la Barca's mythological comedy, El mayor encanto, amor (1635), to show the anagnorisis' functions (recognition), that it was a profusely resource used by Spanish playwrights of the golden centuries
Highlights
Sumario: 1. Delimitación histórica y genérica 2
A common feature of the Spanish Baroque Theatre was the embodiment of dynamic storylines which gravitated around epistemic dualities, being one of the most interesting features, especially the emotional effects caused to the audience which consisted of concealment/disclosure of the real identity of any of the characters involved in the dramatic action
Our purpose is to study an early Calderon de la Barca's mythological comedy, El mayor encanto, amor (1635), to show the anagnorisis' functions, that it was a profusely resource used by Spanish playwrights of the golden centuries
Summary
Sumario: 1. Delimitación histórica y genérica 2.
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