{"title":"桑托斯·德·洛普·德·维加喜剧中的神圣意象和绘画空间","authors":"N. F. Rodríguez","doi":"10.7892/BORIS.67267","DOIUrl":null,"url":null,"abstract":"Departing from the concepts of visualism and theatricality understood as the base of the world view of an epoch, a reflection about the presence of a pictorial-based expressiveness in the performance of Lope’s comedias de santos is suggested. Besides the analysis of the suitable contexts and staging procedures associated to the appearance of sacred images on stage, static performances, closer to painting than to drama, are also taken into account as a device which contribute to create that transcendent meaning which is essential to hagiographical comedias.","PeriodicalId":331499,"journal":{"name":"ehumanista Journal of Iberian Studies","volume":"195 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"4","resultStr":"{\"title\":\"Imaginería sacra y espacios pictóricos en las comedias de santos de Lope de Vega\",\"authors\":\"N. F. Rodríguez\",\"doi\":\"10.7892/BORIS.67267\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Departing from the concepts of visualism and theatricality understood as the base of the world view of an epoch, a reflection about the presence of a pictorial-based expressiveness in the performance of Lope’s comedias de santos is suggested. Besides the analysis of the suitable contexts and staging procedures associated to the appearance of sacred images on stage, static performances, closer to painting than to drama, are also taken into account as a device which contribute to create that transcendent meaning which is essential to hagiographical comedias.\",\"PeriodicalId\":331499,\"journal\":{\"name\":\"ehumanista Journal of Iberian Studies\",\"volume\":\"195 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"1900-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"4\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"ehumanista Journal of Iberian Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.7892/BORIS.67267\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"ehumanista Journal of Iberian Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7892/BORIS.67267","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Imaginería sacra y espacios pictóricos en las comedias de santos de Lope de Vega
Departing from the concepts of visualism and theatricality understood as the base of the world view of an epoch, a reflection about the presence of a pictorial-based expressiveness in the performance of Lope’s comedias de santos is suggested. Besides the analysis of the suitable contexts and staging procedures associated to the appearance of sacred images on stage, static performances, closer to painting than to drama, are also taken into account as a device which contribute to create that transcendent meaning which is essential to hagiographical comedias.
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