Download True/False

The Theatre of the Spanish Golden Age
Objectives
After studying this chapter, the student should be able to:





Identify the playwrights and conventions of religious drama in the Spanish Golden
Age.
Identify the playwrights and conventions of secular drama in the Spanish Golden
Age.
Identify the production elements of corrales, including scenery, stages, and costumes.
Identify the organization and composition of acting companies in the Spanish Golden
Age.
Describe Spanish popular entertainment during the Renaissance.
Lecture Topics
What was the relationship between the auto sacramentales and the Church?
What role did secular theatre play during the Spanish Golden Age?
Who were the major Spanish dramatists during the Renaissance?
Discussion Topics
How were autos sacramentales staged?
What was the plot structure of comedias?
What did the corrales look like?
What role did women playwrights have in the Spanish Golden Age?
Under what circumstances could women perform in plays in the late sixteenth and early
seventeenth centuries?
Multiple-Choice
Please choose the answer that best completes each sentence.
1. ___________________________was the name given to any play presented at Corpus
Christi.
A. Comedia nuevas
B. Carros
*C. Auto Sacramental
D. Fuente Ovejuna
2. The nonreligious plays of the Spanish Golden Age were produced in public theaters
known as:
A. Carros
*B. Corrales
C. Alojero
D. Taburetes
3. Under what circumstances were women allowed as actors in the Spanish theater (after
1599)?
A. If they were members of the nobility.
*B. If their husbands or fathers were members of the company.
C If they were members of the acting union.
D If they were chosen by the King.
4. ___________________________ was the most prolific writer of the Spanish Golden
Age, having written 470 to 1500 plays.
*A. Lope de Vega
B. Guillen de Castro
C. Calderon de la Barca
D. Tirso de Molina
5. The Spanish Renaissance made use of ________________________which is dialogue
indicating locale.
A. neoclassicism
*B. spoken decor
C. companias de partes
D. proscenium prose
6. The full-length, secular dramas of the Spanish Golden Age were known as:
A. autos sacramentales
*B. comedias nuevas
C. corrales
D. lunetas
7. One important figure in the development of secular theatre in Spain was:
*A. Lope de Rueda
B. Calderon de la Barca
C. Pierre Corneille
D. Ortega Y Gassett
8. In form, Spanish plays were very similar to ____________________________ plays.
A. French
B. Italian
*C. Elizabethan
D. German
9. Which of the following is true of Calderon de la Barca's plays:
A. They were religious.
B. Love and honor are common themes.
C. They were performed at court occasionally.
*D. All of the above
10. Religious plays of the Spanish Renaissance were mounted on:
*A. carros
B. platea
C. mansions
D. nuevas
11. In the late sixteenth century, autos sacramentales were performed by
A. amateur actors
*B. professional troupes
C. Both A and B
D. Neither A nor B
12. Before the Corpus Christi festival, actors performing the autos were required to give a
preview performance for
A. the King
B. the city council
*C. Both A and B
D. Neither A nor B
13. The Olives is an example of a short comic piece known as
A. carras
B. autos
C. corrales
*D. pasos
14. The author-manager of a troupe was known as the
*A. autor
B. carras
C. entremeses
D. cazuela
15. Which of the following neoclassical ideals did comedias observe:
A. unity of place
B. unity of action
C. avoiding supernatural characters
*D. none of the above
16. Spanish secular dramas would be closest to the ____________ of today.
A. syphonic concerts
B. musicals
*C. melodramatic entertainment
D. situation comedies
17. One type of comedia was the ___________, which had a daredevil romantic quality.
*A. capa y espada
B. cuerpo
C. ruido
D. teatro
18. In comedia, the intermission featured interludes known as:
A. cuerpo
*B. entermeses
C. autor
D. pesos
19. Lope de Vega wrote in a(n) _____________ style.
A. neoclassical
*B. episodical
C. existentialist
D. none of the above
20. Scenic conventions in Spain were most similar to practices in Renaissance:
A. Italy
B. France
*C. England
D. America
21. The equivalent of the Elizabethan groundlings in Spain were the:
*A. mosqueterors
B. taburetes
C. gradas
D. desvanes
22. Women attending the corrales sat in a separate gallery known as:
A. carros
B. gradas
C. taburetes
*D. cazuela
23. A unique Spanish court entertainment was the __________, a stylized musical drama.
A. companias de parte
B. comedia nuevas
C. rejas
*D. zarzuela
24. Which of the following is true of Spanish acting troupes?
A. They consisted of fifty or more actors.
B. Actors played only one role per play.
*C. All troupes had to be licensed.
D. All of the above
25. __________________, a nun, wrote secular dramas that were probably produced at
the palace of governmental officials.
A. Leonor de la Cueva y Silva
*B. Sor Juana Ines de la Cruz
C. Isabella Calderon de la Barca
D. Maria de Rueda
True/False
Please choose whether the statement is true or false.
26. Religious dramas in Spain were originally produced inside churches and cathedrals as
part of the service.
*True
False
27. Playwrights chose to specialize in either religious or secular drama, and did not write
both types of plays.
True
*False
28. Autos sacramentales were forbidden in 1765, because they were deemed to reflect a
carnival atmosphere rather than a religious one.
*True
False
29. By the mid-seventeenth century, a fixed platform was used at each playing space for
the autos sacramentales.
*True
False
30. Secular theatre emerged in the seventeenth century, about one hundred years after the
religious theatre emerged.
True
*False
31. Lope de Rueda built the first permanent theater in Spain.
True
*False
32. Comedias could contain both serious and comic elements.
*True
False
33. Lope de Vega lived at the same time as Shakespeare, and wrote in a similar form.
*True
False
34. Both Lope de Vega and Calderon de la Barca were ordained priests.
*True
False
35. Female dramatists in the Spanish Golden Age had their works produced widely and
were immensely popular.
True
*False
Essays
36. Compare and contrast religious and secular drama and staging practices in the
Spanish Golden Age.
37. Compare and contrast the Spanish and English Renaissance plays and theaters.