Espacio escénico y simbología religiosa, en los albores del teatro cortesano

Resumo

The symbolism of the early liturgical drama suffered profound changes when it was first played in the  court,  bringing   to   the   dramatic   performance  new  features  that  reflected   the  specific characteristics of life in court. In this article, the author analyses the religious plays written by Juan del Encino and Pedro Malanuel de Urrea, paying particular attention to !he presentation on stage of religious elements: from those  present in the pe1forming area itself, the court chapel  which is a central element of the performance, to those brought into the stage, either as part of the atrezzo, or the didactic through which the word1· created the physically absent symbol; the author also analyses the particular case of Pedro Manuel de Urrea's play, Écloga del Nascimiento, in which the players place themselves on stage forming the symbolical image in prejudice of the dramatic performance, a technique that is clearly associated to artistic displays based on tradition, such as the iconography and the court invention.