La Barca de Calderón. Kurt & Roswitha Reichenberger: "Bibliographisches Handbuch der Calderón-Forschung /Manual bibliográfico calderoniano (III):Bibliographische Beschreibung der frühen Drucke". Born when the Spanish Golden Age theatre was being defined by Lope de Vega, he developed it further, his work being regarded as the culmination of the Spanish Baroque theatre. Although he used technical devices and stylistic mannerisms that by constant repetition became conventional, Calderón remained sufficiently detached to make his characters, on occasion, poke fun at his own conventions. Read 628 reviews from the world's largest community for readers. In addition, probably influenced by Cervantes, Calderón realized that any play was but fiction, and that the structure of the baroque play was entirely artificial. In Madrid, then a great world capital, the theater district and King Philip IV's palace theater needed a constant supply of plays on varied subjects. Although rhetorical devices typical of the Spanish Baroque style remained a feature of his diction, his verse developed away from excessive ornamentation toward a taut style compressed and controlled by a penetrating mind. During certain periods of his life he served as soldier and a Roman Catholic priest. Thus Calderón, as court dramatist, became associated with the rise of opera in Spain. Pedro Calderón de la Barca (17 de janeiro de 1600 – 25 de maio de 1681) foi um dramaturgo e poeta espanhol.. De família acomodada, seu pai tem um cargo administrativo na corte. Abandoning an ecclesiastical career, he entered the service of the constable of Castile and in 1623 began to write plays for the court, rapidly becoming the leading member of the small group of dramatic poets whom King Philip IV gathered around him. In subsequent decades, Calderón's work was translated into German numerous times, most notably by Johann Diederich Gries and Joseph von Eichendorff, and found significant reception on the German and Austrian stages under the direction of Goethe, and Joseph Schreyvogel. Dorotea Calderón de la Barca was born in 1598; She entered the convent of, José Calderón, much loved by his brothers, was born in Valladolid in 1602. Receiving permission to hold his prebend without residence, he returned to Madrid in 1657 and was appointed honorary chaplain to the king in 1663. Su familia fue bastante acomodada económicamente y su padre era el secretario de contaduría del monarca. Author of. I took finished bits of the translation with me to Moscow, read them to Liubimov at Potapov Street, and then went back to Peredelkino, where I would tactfully ask [Boris Leonidovich] to change passages which, in Liubimov's view departed too far from the original. Birth: 1886: Marriage: dd mm year: Record information. Our editors will review what you’ve submitted and determine whether to revise the article. Cuentan de un sabio, que un día tan pobre y mísero estaba, que sólo se sustentaba de … Mr. Ticknor prefers it to the more celebrated 'Devotion of the Cross,' and says that it 'is commonly ranked among the best religious plays of the Spanish theatre in the seventeenth century.' Es el protagonista de la obra, príncipe e hijo del rey Basilio de Polonia. Procura no emplearse en nada que haga más rápido un PC ni más barato un hindu [9] In 1881, during a controversial meeting at El Retiro for the commemoration of the two hundredth anniversary of Calderón's death, Menéndez Pelayo drank a toast to the celebration of Calderón's Spain and for the supremacy of the Latin race over "germanic barbarity" (settling accounts with foreign scholars). Kassel, Edition Reichenberger 1999. As such, he is regarded as one of Spain's foremost dramatists and one of the finest playwrights of world literature.[a]. Durante ciertos períodos de su vida también fue soldado y caballero de la Orden de Santiago. However, he had a liking for symbolism, for example making a fall from a horse a metaphor of a fall into disgrace, the fall representing dishonour; the use of horoscopes or prophecies at the start of the play as a way of making false predictions about the following to occur, symbolizing the utter uncertainty of future. His health failing, Calderón retired from the army in November 1642, and three years later was awarded a special military pension in recognition of his services in the field. In this manner he left the theatres orphaned in which he was considered one of the best dramatic writers of his time.[6]. First published in 1636, in two different editions, the first in Madrid and a second one in Zaragoza. His mother, Ana Gonzalez de Henao (née Riaño) who was of Italian descent, died in 1610. … 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 and philosophical constructs. Later significant German adaptations include Hugo von Hofmannsthal's versions of La vida es sueño and El gran teatro del mundo. La vida es sueño, de Pedro Calderón de la Barca, se compone de siete personajes que tienen diálogos:. Un frenesí. [7] E. T. A. Hoffmann based his 1807 singspiel Liebe und Eifersucht on a play by Calderón, La banda y la flor (The Scarf and the Flower), translated by Schlegel. Pedro CalderÓn de la Barca. They settled in Madrid, and Don Pedro obtained the position of secretary of the Council and Chief Accounting Office of the Treasury, in the one succeeded by his son Don Diego, father of the poet, around 1595. Calderón de la Barca utilizează în mod frecvent piese anterioare, din care elimină scene inutile; reduce din numărul de personaje și din bogăția polimetrică a teatrului lopesc. The court drama grew out of the popular drama, and at first there was no distinction in themes and style between the two. Estudió en el Colegio Imperial de los Jesuitashasta 1613. 41 likes. This was followed by two other plays that same year: La selva confusa and Los Macabeos. Though none has the intensity of La hija del aire, most exemplify a thoughtful, dignified, and restrained art. Pedro Calderón de la Barca nació en Madrid el 17 de enero de 1600 de familia hidalga. The critics who allege that he approves of the murder of an innocent wife because honour demands it overlook the fact that the horror one feels at this deed is precisely what he intended. Nació en Madrid el 17 de enero de 1600, durante el reinado de Felipe III, de la dinastía de los Austria. Both plays also implicitly criticize the accepted code of honour. Calderón de la Barca appears in the 1998 novel The Sun over Breda, by Arturo Pérez-Reverte, which takes up the assumption that he served in the Spanish Army at Flanders and depicts him during the sack of Oudkerk by Spanish troops, helping the local librarian save books from the library in the burning town hall. Calderón’s father, a fairly well-to-do government official who died in 1615, was a man of … Pedro Calderón de la Barca (Madrid, 1600 - id., 1681) Dramaturgo español. Some of Calderón's works have been translated into English, notably by Denis Florence MacCarthy, Edward FitzGerald, Roy Campbell, Edwin Honig, Kenneth Muir & Ann L. Mackenzie, Adrian Mitchell, and Gwynne Edwards. Segismundo. Corrections? Translations of August Wilhelm Schlegel reinvigorated interest in the playwright, who, alongside Shakespeare, subsequently became a banner figure for the German Romantic movement. Amazon.com: La vida es sueno (Spanish Edition) (9788437600925): Pedro Calderon de la Barca, Ciraco Moron: Books [5] Calderón was educated at the Jesuit College in Madrid, the Colegio Imperial, with a view to taking orders; but instead, he studied law at Salamanca. Appointed a prebendary of Toledo Cathedral, he took up residence in 1653. ¡Que toda la vida es sueño, Poeta, dramaturgo, soldado y archienemigo de Lope de Vega, Pedro Calderón de la Barca fue el máximo exponente del Barroco en el Siglo de Oro español. Manuel Calderón de la Barca León from tree Árbol genealógico de Gallardo García . En ese entonces estudiaba en la universidad de Alcalá, donde debió suspender su estadía para ir a solventar los asuntos pertinentes al testamento de su padre. La dama duende (1629; The Phantom Lady) is a neat and lively example. He therefore usually reduced the number of scenes in his plays as compared to those of Lope de Vega, so as to avoid any superfluity and present only those scenes essential to the play, also reducing the number of different metres in his plays for the sake of gaining a greater stylistic uniformity. By the time Lope de Vega died in 1635, Calderón was recognized as the foremost Spanish dramatist of the age. Although best known abroad as the author of Doctor Zhivago, Boris Pasternak produced acclaimed Russian translations of Calderón's plays during the late 1950s. Enrique Ruul Fernandez, "Estudio y Edición crítica de Celos aun del aire matan, de Pedro Calderón de la Barca", UNED, 2004. A few years later an illegitimate son was born to him; nothing is known about the mother, and the idea that sorrow at her death led him to return to his first vocation, the priesthood, is pure surmise. Whereas his predecessor, Lope de Vega, pioneered the dramatic forms and genres of Spanish Golden Age theatre, Calderón polished and perfected them. At his de… by translated and adapted by Nilo Cruz Pedro Calderón de la Barca | Jan 5, 2009. This realization probably derives from Calderón’s own family experience. This basic contrast underlies the themes of Calderón’s last period, its various aspects being expanded in a number of interesting variations, many directly concerned with the positive values of civilization. For two centuries after his death, his preeminence remained unchallenged, but the realistic canons of criticism that came to the fore toward the end of the 19th century produced a reaction in favour of the more “lifelike” drama of Lope de Vega. El pintor de su deshonra is built on a similar plot. [10] Félix Sardà y Salvany also claimed Calderón for integrist Catholicism; integrists considered Calderón de la Barca to embody the most brilliant incarnation of the Spanish religious intolerance. The difficulties that Calderón’s art presents to the modern reader have tended to obscure the originality of his themes. Life Is a Dream Detail from bronze relief on a monument to Calderón in Madrid, J. Figueras, 1878 Written byPedro Calderón de la Barca Date premiered1635 Original languageSpanish SubjectFree will, fate, honor, power GenreSpanish Golden Age drama SettingPoland Life Is a Dream is a Spanish-language play by Pedro Calderón de la Barca. Calderón began his writing career in Madrid in 1622 by participating in a poetry competition sponsored by that city to celebrate the canonization of its patron saint, St. Isidro. y los sueños, sueños son! By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. In his eighty-first year he wrote his last secular play, Hado y Divisa de Leonido y Marfisa, in honor of Charles II's marriage to Maria Luisa of Orléans. For instance, Samuel Pepys recorded attending to some plays during 1667 which were free translations of some of Calderón's. It is often considered Calderón’s masterpiece. In common with many writers from the Spanish Golden Age, his plays usually show his vital pessimism, that is only softened by his rationalism and his faith in God; the anguish and distress usually found his œuvre is better exemplified in one of his most famous plays, La vida es sueño (Life Is a Dream), in which Segismundo claims: ¿Qué es la vida? He collaborated with Cosme Lotti in developing complex scenographies that were integrated in some of his plays, specially his most religious-themed ones such as the Autos Sacramentales, becoming extremely complex allegories of moral, philosophical and religious concepts. Un frenesí. This perfectionism was not just limited to his own work: several of his plays rework existing plays or scenes by other dramatists, improving their depth, complexity, and unity. Although his poetry and plays leaned towards culteranismo, he usually reduced the level and obscurity of that style by avoiding metaphors and references away from those that uneducated viewers could understand. This was followed by Celos, aun del aire matan (1660; “Jealousy Even of the Air Can Kill”), an opera in three acts with music by Juan Hidalgo. He completed his military career, in which he got the job of lieutenant-general-field master; He was wounded in the right leg during the. Notwithstanding his position at court and his popularity throughout Spain, near the end of his life Calderón struggled with financial difficulties, but with the motivation of the Carnival of 1680 he wrote his last work of comedy, Hado y divisa de Leonido y de Marfisa. Pedro Calderón de la Barca y Barreda González de Henao Ruiz de Blasco y Riaño (17 January 1600 – 25 May 1681), usually referred as Pedro Calderón de la Barca (UK: /ˌkældəˈrɒn ˌdeɪ læ ˈbɑːrkə/, US: /ˌkɑːldəˈroʊn ˌdeɪ lə -, - ˌdɛ lə -/; Spanish: [ˈpeðɾo kaldeˈɾon de la ˈβaɾka]), was a dramatist, poet, writer and a knight of the Order of Santiago, known primarily for being one of the most distinguished Baroque writers of the Spanish Golden Age, especially for its theater. Very soon after the "scandal" was over, [Boris Leonidovich] received a first payment for the work on Calderón.[8]. And dreams, are only dreams. Calderón’s drama must be placed within the context of the court theatre, with its conscious development of an unrealistic and stylized art form. Since Calderón's plays were usually produced at the court of the King of Spain, he had access to the most modern techniques regarding scenography. Spanish playwright, poet, and writer (1600-1681), Calderon dela Barca, Life is a dream, act II, scene 19, Monologue of Segismundo. 570 likes. The court plays became a distinctive Baroque genre, combining drama with dancing, music, and the visual arts and departing from contemporary life into the world of classical mythology and ancient history. Yet Calderón’s humanity has been questioned in connection with El médico de su honra. According to a statement he made a year or two later, he decided to give up writing secular dramas for the commercial theatres. Passion, in its self-seeking, in its grasping for power and devouring of everything in the urge to domination, breeds disorder and leads to destruction; reason, in its sacrificing of self-interest to justice and loyalty, produces order. Pedro Calderón de la Barca was born in Madrid on Friday, 17 January 1600, and was baptized in the parish of San Martín. y el mayor bien es pequeño. En 1620 abandonó los estudios religiosos y tres años más tarde se dio a conocer como dramaturgo con su primera comedia, Amor, honor y poder. 1600–1681. An illusion, This play in two parts dramatizes the legend of Semiramis (the warrior queen of Babylon whose greed for political power led her to conceal and impersonate her son on his accession). Calderón was appointed honorary chaplain to Philip IV in 1663, and continued as chaplain to his successor. Pedro Calderón de la Barca - Pedro Calderón de la Barca - Religious plays: Calderón’s vision of the human world in his secular plays is one of confusion and discord arising out of the inevitable clash of values in the natural order. Destined for the Church. Early life. Articles from Britannica Encyclopedias for elementary and high school students. About the same time, he produced his first play, Love, Honor and Power (Amor, honor y poder). Comer y beber bien bien bien en una terraza frente al río, ¿se te ocurre algo mejor? However, they also had a natural brother, Francisco, who hid under the surname of "González" and was expelled from the father's house by Don Diego, although he left written in 1615 that he be recognized as legitimate unless he had married "with that woman he tried to marry", in which case he would be disinherited. Estuda no Colégio Imperial dos Jesuítas, onde cursa Humanidades e se familiariza com os clássicos. Estudios críticos sobre Calderón 1679–1979: Autos sacramentales, obras cortas y obras supuestas". Na podzim roku 1642 byl raněn v bitvě u Lleidy a z armády vystoupil. Destined for the church, Calderón matriculated at the University of Alcalá in 1614 but transferred a year later to Salamanca, where he continued his studies in arts, law, and probably theology until 1619 or 1620. A son, Pedro José, was born to Calderón and an unknown woman between 1647 and 1649; the mother died soon after. Calderón’s popularity was not confined to the court, for these early plays were also acclaimed in the public theatres, and, on the death of Lope de Vega (1635), Calderón became the master of the Spanish stage. After making a will in Madrid on November 13, 1647, he died that same year. Along with the older playwright Lope De Vega , Calderón would dominate Spain's Golden Age of theatre. Paperback Life Is a Dream/La Vida es Sueño: A Dual-Language Book (Dover Dual Language Spanish) by Pedro Calderon de la Barca and Stanley Appelbaum | Dec 6, 2002. The fully developed court plays are best represented by La hija del aire. Pedro Calderón de la Barca was born in Madrid on Friday, 17 January 1600, and was baptized in the parish of San Martín. Name variations: Fanny Calderon. Over the next two decades, Calderón wrote more than 70 plays, the majority of which were secular dramas written for the commercial theatres. Sus padres le duraron poco, su madre murió cuando él tenía 10 años y su padre, cinco años después, quedando huérfano a la edad de 15 años. As for his father Diego In early 1629 he and his brother, the playwright Pedro, participated in a brawl on Calle Cantarranas, today Lope de Vega, in which comedian Pedro de Villegas, brother of the famous actress Ana de Villegas, was seriously injured. He was ordained in 1651 and announced that he would write no more for the stage. Calderón served with the Spanish army in Italy and Flanders between 1625 and 1635. His father, Diego Calderón, was a hidalgo of mountain origin (Viveda [es], Cantabria) and by paternal inheritance he had assumed the position of secretary of the Council and Chief Accounting Office of the Treasury, serving in it the kings Felipe II and Felipe III, died in 1615. Father: given name surname (1849-year) Mother: given name surname (Born 1850) What is life? Accepting the conventions of the comedy of intrigue, a favourite form on the Spanish stage, he used them for a fundamentally serious purpose. We did not actually go looking for this statue, but it just popped up in front of us while wandering around. Una ilusión, He also wrote each year the two Corpus Christi plays for Madrid. [10] Between 1620 and 1622 Calderón won several poetry contests in honor of St Isidore at Madrid. Pedro Calderón de la Barca föddes i Madrid, och var genom sin moder av flamländskt ursprung. A. Parker (who considered La hija del aire to be his finest work),[11] A. E. Sloman and more recently Bruce Wardropper. Calderón de la Barca Mythological themes predominate, with a more or less allegorical treatment, as in Eco y Narciso (1661; “Echo and Narcissus”), La estatua de Prometeo (1669; “The Statue of Prometheus”), and Fieras afemina amor (1669; “Wild Beasts Are Tamed by Love”). Pedro Calderón de la Barca (1600 – 1681) fue un importante dramaturgo, poeta y escritor del Siglo de Oro español. Manuel Calderón de la Barca León found in 3 trees View all. Calderón's biography during the next few years is obscure. What is life? Kurt & Roswitha Reichenberger: "Bibliographisches Handbuch der Calderón-Forschung /Manual bibliográfico calderoniano (I): Die Calderón-Texte und ihre Überlieferung". Among his best-known secular dramas are El médico de su honra (1635; The Surgeon of His Honour), La vida es sueño (1635; Life Is a Dream), El alcalde de Zalamea (c. 1640; The Mayor of Zalamea), and La hija del aire (1653; “The Daughter of the Air”), sometimes considered his masterpiece. Juan Calderón de la Barca: Birthdate: estimated between 1727 and 1787 : Birthplace: Nuestra Señora de La Paz, La Paz Department, Bolivia (Bolivia, Plurinational State of) Death: Immediate Family: Husband of Manuela Loza Father of Isabel Calderón de la Barca Loza. 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