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El mágico prodigioso. Casa con dos puertas, mala es de guardar
Soft-cover
195 pages, Paperback
Published January 1, 2001
1 person is currently reading
3 people want to read
About the author
Pedro Calderón de la Barca
1,768 books281 followersPedro Calderón de la Barca y Henao was a dramatist of the Spanish Golden Age.
Calderón initiated what has been called the second cycle of Spanish Golden Age theatre. Whereas his predecessor, Lope de Vega, pioneered the dramatic forms and genres of Spanish Golden Age theatre, Calderón polished and perfected them. Whereas Lope's strength lay in the sponteneity and naturalness of his work, Calderón's strength lay in his capacity for poetic beauty, dramatic structure and philosophical depth. Calderón was a perfectionist who often revisited and reworked his plays, even long after they debuted. This perfectionism was not just limited to his own work: many of his plays rework existing plays or scenes by other dramatists, improving their depth, complexity, and unity. (Many European playwrights of the time, such as Molière, Corneille and Shakespeare, reworked old plays in this way.) Calderón excelled above all others in the genre of the "auto sacramental", in which he showed a seemingly inexhaustible capacity to giving new dramatic forms to a given set of theological constructs. Calderón wrote 120 "comedias", 80 "autos sacramentales" and 20 short comedic works called "entremeses"
Calderón initiated what has been called the second cycle of Spanish Golden Age theatre. Whereas his predecessor, Lope de Vega, pioneered the dramatic forms and genres of Spanish Golden Age theatre, Calderón polished and perfected them. Whereas Lope's strength lay in the sponteneity and naturalness of his work, Calderón's strength lay in his capacity for poetic beauty, dramatic structure and philosophical depth. Calderón was a perfectionist who often revisited and reworked his plays, even long after they debuted. This perfectionism was not just limited to his own work: many of his plays rework existing plays or scenes by other dramatists, improving their depth, complexity, and unity. (Many European playwrights of the time, such as Molière, Corneille and Shakespeare, reworked old plays in this way.) Calderón excelled above all others in the genre of the "auto sacramental", in which he showed a seemingly inexhaustible capacity to giving new dramatic forms to a given set of theological constructs. Calderón wrote 120 "comedias", 80 "autos sacramentales" and 20 short comedic works called "entremeses"
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Displaying 1 of 1 review
March 16, 2025
Tengo que hacer una división porque son dos teatros distintos.
El mágico prodigioso: 3 estrellas.
Quizá ha sido porque tenía altas expectativas al tener relación con el motivo de Fausto o puede haber sido por el tema del cristianismo, pero lo cierto es que no me ha gustado tanto como pensaba.
Casa con dos puertas, mala es de guardar: 5 estrellas.
Es curioso porque compré este libro de segunda mano por El mágico prodigioso, pero ha sido esta segunda obra que viene en el libro la que me ha gustado más. Una comedia de enredo amoroso en la que todo se malinterpreta continuamente y con la que me he reído bastante.
Con esto he aprendido algo y es que no siempre es preferible un drama de temática filosófica o temas profundos. A veces se disfruta mucho más de una historia sencilla que es capaz de sacarte una sonrisa. Esto no quita que ambas obras son excelentes, como no podía ser de otra forma con un autor como Calderón.
El mágico prodigioso: 3 estrellas.
Quizá ha sido porque tenía altas expectativas al tener relación con el motivo de Fausto o puede haber sido por el tema del cristianismo, pero lo cierto es que no me ha gustado tanto como pensaba.
Casa con dos puertas, mala es de guardar: 5 estrellas.
Es curioso porque compré este libro de segunda mano por El mágico prodigioso, pero ha sido esta segunda obra que viene en el libro la que me ha gustado más. Una comedia de enredo amoroso en la que todo se malinterpreta continuamente y con la que me he reído bastante.
Con esto he aprendido algo y es que no siempre es preferible un drama de temática filosófica o temas profundos. A veces se disfruta mucho más de una historia sencilla que es capaz de sacarte una sonrisa. Esto no quita que ambas obras son excelentes, como no podía ser de otra forma con un autor como Calderón.
Displaying 1 of 1 review