Actually, Calderon de la Barca
(1600-1681) wrote the work.
Emily Wardill's Game Keepers Without Game, 2009, cribs from La Vida es Sueno (Life Is a Dream), a seventeenth-century Spanish play by Pedro Calderon de la Barca
, but the source is nearly unrecognizable.
Ife on illness in Don Quijote,, Persiles y Segismunda, and three of the novelas ejemplares); the next three turn to theater (Anthony Lappin on Lope's Caballero de Olmedo, Jeremy Robbins on Calderon de la Barca
's Eco y Narciso, and Bruce Swansey on the topos of the labyrinth in comedias by Tirso de Molina, Calderon de la Barca
, Lope de Vega, and Sor Juana Ines de la Cruz).
Para no dilatarme innecesariamente comento aqui solo uno de los dramas de honor mas comentados y menos representados en escena: El medico de su honra, de Calderon de la Barca
Written by leading British composer Jonathan Dove and Alistair Middleton, Life is a Dream is based in a famous 17th century Spanish play by Calderon de la Barca
and considered by many to be the Hamlet of the Spanish-speaking world.
Bergmans The Art of Humour in the Teatro Breve and Comedias of Calderon de la Barca
(Tamesis, 2003) to check the validity of this claim.
Tolkien, Lao Tzu, Pedro Calderon de la Barca
, and Virginia Woolf.
8) See Neumeister, Mito y ostentacion (see note 1) and Margaret Rich Greer, The Play of Power: Mythological Court Dramas of Calderon de la Barca
(Princeton: Princeton University Press, 1991).
Primero, es la primera obra del productivo periodo de senectute de Pedro Calderon de la Barca
y la primera publicada tras la muerte de su mecenas Felipe IV.
Feliciano examines his views on class and religion; his apprenticeship in Paris (he studied at the Sorbonne with the help of a Rockefeller Fellowship); his interest in music and architecture; his fascination with a handful of artists, renaissance and existential, including Camus, Sartre, Unamuno, Antonin Artaud (whose theater of cruelty palpitates in Solorzano's stage), Calderon de la Barca
, and Michel de Ghelderode; and his compulsion to articulate his mitopoesis around pre-Columbian rituals and medieval autos sacramentales.
The 17thCentury drama by Calderon de la Barca
-one of the great plays of the so-calledGolden Age of Spanish writing -deals with soldiers billeted on a peasant and his young daughter.
There is irony in that although Campbell explicitly rejects the Golden Age canon for the purposes of this study, it is one of the pillars of this canon, Pedro Calderon de la Barca
, whose work best mirrors her conclusions with its recurring emphasis on themes of kingship and obligation and personal responsibility--even to the extent that with his virtual abandonment of the public theater in order to concentrate on his extravagant court dramas, he himself can be seen as a culprit in the demise of the comedia.