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The Corral de la Cruz (1579-1736) is the less well known of Madrid's Golden Age playhouses. This latest volume in Tamesis's Fuentes series is a detailed study of one of its most distinctive features: the boxes, or aposentos, from which the privileged and powerful, including Philip IV, witnessed the premieres of so many plays by Lope de Vega, Calderón and others. These boxes were rooms overlooking the yard, but were situated in private houses outside the walls of the playhouse, with independent access. Their structure and history are traced here through a substantial corpus of new documents containing information on the location, structure, dimensions, owners, lessees and users of the boxes and the houses, as well as the vexed question of payment for viewing rights. This provides an indispensable basis for the reconstruction of the first permanent theatre in the Spanish capital, in both its architectural and socioeconomic aspects. CHARLES DAVIS is a Ramón y Cajal Research Fellow at the University of Valencia and Honorary Research Fellow of Queen Mary, University of London. El Corral de la Cruz (1579-1736) es el menos conocido de los dos corrales de comedias madrileños. Este último tomo de las Fuentes de Tamesis es un estudio pormenorizado de uno de sus elementos más característicos: los aposentos, o palcos, desde donde los espectadores más privilegiados, entre ellos el propio Felipe IV, presenciaban los estrenos de tantas obras de Lope de Vega, Calderón y otros. Eran habitaciones que daban al patio, pero estaban situadas en casas particulares fuera de las medianerías del teatro, con entradas independientes. Se traza aquí su historia y estructura a través de un nutrido corpus documental que ofrece nuevos datos sobre la ubicación, estructura, medidas, propietarios, inquilinos y usuarios de los aposentos y las casas.
Overview
The Corral de la Cruz (1579-1736) is the less well known of Madrid's Golden Age playhouses. This latest volume in Tamesis's Fuentes series is a detailed study of one of its most distinctive features: the boxes, or aposentos, from which the privileged and powerful, including Philip IV, witnessed the premieres of so many plays by Lope de Vega, Calderón and others. These boxes were rooms overlooking the yard, but were situated in private houses outside the walls of the playhouse, with independent access. Their ...