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Auto Da Barca Do Purgatório
Anjo, Arrais do Céu. Diabo – Arrais do Inferno. Companheiro do Diabo, Lavrador, Marta Gil – regateira, Pastor, Moça Pastora, Menino, Taful, Três Anjos.
Esta segunda cena é atribuída à embarcação do Purgatório. Trata-se per lavradores. Foi representada à muito devota e católica Rainha D. Lianor no Hospital de todo os Santos da cidade de Lisboa, nas matinas do Natal, era do Senhor 1518.
Esta segunda cena é atribuída à embarcação do Purgatório. Trata-se per lavradores. Foi representada à muito devota e católica Rainha D. Lianor no Hospital de todo os Santos da cidade de Lisboa, nas matinas do Natal, era do Senhor 1518.
Unknown Binding
First published January 1, 1518
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About the author
Gil Vicente
303 books106 followersGil Vicente, called the Trobadour, was a Portuguese playwright and poet who acted in and directed his own plays. Considered the chief dramatist of Portugal he is sometimes called the "Portuguese Plautus" and often referred to as the "Father of Portuguese drama." Vicente worked in Portuguese as much as he worked in Spanish and is thus, with Juan del Encina, considered joint-father of Spanish drama.
Vicente was attached to the courts of the Portuguese kings Manuel I and John III. He rose to prominence as a playwright largely on account of the influence of Queen Dowager Leonor, who noticed him as he participated in court dramas and subsequently commissioned him to write his first theatrical work.
He may also have been identical to an accomplished goldsmith of the same name, creator of the famous monstrance of Belém, and master of rhetoric of King Manuel I.
His plays and poetry, written in both Portuguese and Spanish, were a reflection of the changing times during the transition from Middle Ages to Renaissance and created a balance between the former time of rigid mores and hierarchical social structure and the new society in which this order was undermined.
While many of Vicente's works were composed to celebrate religious and national festivals or to commemorate events in the life of the royal family, others draw upon popular culture to entertain, and often to critique, Portuguese society of his day.
Though some of his works were later suppressed by the Inquisition, causing his fame to wane, he is now recognised as one of the principal figures of the Portuguese Renaissance.
More information at Wikipedia.
Vicente was attached to the courts of the Portuguese kings Manuel I and John III. He rose to prominence as a playwright largely on account of the influence of Queen Dowager Leonor, who noticed him as he participated in court dramas and subsequently commissioned him to write his first theatrical work.
He may also have been identical to an accomplished goldsmith of the same name, creator of the famous monstrance of Belém, and master of rhetoric of King Manuel I.
His plays and poetry, written in both Portuguese and Spanish, were a reflection of the changing times during the transition from Middle Ages to Renaissance and created a balance between the former time of rigid mores and hierarchical social structure and the new society in which this order was undermined.
While many of Vicente's works were composed to celebrate religious and national festivals or to commemorate events in the life of the royal family, others draw upon popular culture to entertain, and often to critique, Portuguese society of his day.
Though some of his works were later suppressed by the Inquisition, causing his fame to wane, he is now recognised as one of the principal figures of the Portuguese Renaissance.
More information at Wikipedia.
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Displaying 1 of 1 review
January 13, 2015
Uma espécie de continuação do Auto da Barca do Inferno, e, por isso mesmo, deixou-me um pouco desapontado, que esperava muito mais originalidade.
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