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As demonstrated in Chapters 5, 6 and 7 of this book, Spanish theatre in the eighteenth century was characterised by the persistence of systems and forms of representation still typical of the Golden Age, systems that clashed with the tenets of Enlightenment culture. The reforms initiated by the Count of Aranda in 1767, however, brought in a closer regulation of the make-up of acting companies and their traditional itinerant status. The aim was to limit the constant travelling of the companies by keeping them in one place for the entire theatre season.
These reforms decisively shaped the representational styles and professional careers of actors. The latter came to depend on a newly established hierarchy of theatres with Madrid's three theatres – the Príncipe, the Cruz and the Caños del Peral – at its pinnacle. Actors and actresses moved through this hierarchy, travelling either up or down the scale. At the beginning of each season – which opened, as was the tradition, just after Lent – each company would hire performers following a strict order of preference: the capital was permitted to form its companies first; companies elsewhere had to make do with what was left.
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