Book contents
- Frontmatter
- Contents
- Illustrations
- Contributors
- Acknowledgements
- Introduction
- 1 The challenges of historiography
- 2 Lope de Vega, Calderón de la Barca and Tirso de Molina
- 3 The world as a stage
- 4 Playing the palace
- 5 The art of the actor, 1565–1833
- 6 Theatrical infrastructures, dramatic production and performance, 1700–1759
- 7 Popular theatre and the Spanish stage, 1737–1798
- 8 Theatre of the elites, neoclassicism and the Enlightenment, 1750–1808
- 9 Actors and agency in the modern era, 1801–2010
- 10 Zarzuela
- 11 Nineteenth-century Spanish theatre
- 12 Copyright, buildings, spaces and the nineteenth-century stage
- 13 Modernism and the avant-garde in fin-de-siècle Barcelona and Madrid
- 14 Continuity and innovation in Spanish theatre, 1900–1936
- 15 Theatrical activities during the Spanish Civil War, 1936–1939
- 16 Theatre, colonialism, exile and the Americas
- 17 Theatre under Franco (1939–1975)
- 18 Flamenco
- 19 Nationalism, identity and the theatre across the Spanish state in the democratic era, 1975–2010
- 20 Directors and the Spanish stage, 1823–2010
- 21 This evolution is still ongoing
- 22 Theatre as a process of discovery
- 23 Theatre is the art of the future
- Select bibliography
- Index
- References
6 - Theatrical infrastructures, dramatic production and performance, 1700–1759
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Illustrations
- Contributors
- Acknowledgements
- Introduction
- 1 The challenges of historiography
- 2 Lope de Vega, Calderón de la Barca and Tirso de Molina
- 3 The world as a stage
- 4 Playing the palace
- 5 The art of the actor, 1565–1833
- 6 Theatrical infrastructures, dramatic production and performance, 1700–1759
- 7 Popular theatre and the Spanish stage, 1737–1798
- 8 Theatre of the elites, neoclassicism and the Enlightenment, 1750–1808
- 9 Actors and agency in the modern era, 1801–2010
- 10 Zarzuela
- 11 Nineteenth-century Spanish theatre
- 12 Copyright, buildings, spaces and the nineteenth-century stage
- 13 Modernism and the avant-garde in fin-de-siècle Barcelona and Madrid
- 14 Continuity and innovation in Spanish theatre, 1900–1936
- 15 Theatrical activities during the Spanish Civil War, 1936–1939
- 16 Theatre, colonialism, exile and the Americas
- 17 Theatre under Franco (1939–1975)
- 18 Flamenco
- 19 Nationalism, identity and the theatre across the Spanish state in the democratic era, 1975–2010
- 20 Directors and the Spanish stage, 1823–2010
- 21 This evolution is still ongoing
- 22 Theatre as a process of discovery
- 23 Theatre is the art of the future
- Select bibliography
- Index
- References
Summary
The War of Succession and the new dynasty
The outbreak of the War of Spanish Succession in 1702 deeply affected commercial theatre, which found itself subjected to the vicissitudes of the war and even, on occasion, faced complete ruin. In 1711, the withdrawal of the court from Madrid meant disaster for the open-air municipal theatres, and by September of that year there were numerous days in which no profits at all were made. There were also times when ‘no se representó por no haber gente’ (there were no performances because nobody turned up) and others in which the takings were so scarce that the only profit consisted of 2 reales. During the long reign of Philip V, between 1700 and 1746, the primary influence in court theatre and, by extension, in Spanish theatre life, came from Italy rather than France. This preference for Italian theatre could have been due in part to the fact that Philip V's two wives, María Luisa of Savoy and Isabella Farnese, were Italian. However, the king himself shared their taste, and it was his decision, not theirs, to bring a company of commedia dell'arte actors from Italy and install it in Madrid.
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- Chapter
- Information
- A History of Theatre in Spain , pp. 120 - 133Publisher: Cambridge University PressPrint publication year: 2012