Publication: Un estruendo invisible: las cajas en el teatro de Bances Candamo
Authors
Gilabert, Gastón
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Publisher
Universidad de Murcia, Servicio de Publicaciones
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DOI
https://doi.org/10.6018/cartaphilus.409541
https://doi.org/10.6018/cartaphilus.409541
https://doi.org/10.6018/cartaphilus.409541
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info:eu-repo/semantics/article
Description
Abstract
El objetivo de este trabajo es
reflexionar acerca de uno de los ingre‐
dientes más invisibles del teatro del
Siglo de Oro: la música instrumental y
los efectos acústicos que no incluyen la
participación de cantantes. Mediante el
análisis de todas las apariciones de ca‐
jas o tambores militares percutidos en
las comedias de Francisco Bances Can‐
damo, con la dificultad que supone la
escasez generalizada de acotaciones
destinadas a la música instrumental, se
dibuja una estrategia dramática para
vincular el oído con lo bélico, sea para
animar al soldado, sea para las honras
fúnebres de los caídos, con las implica‐
ciones ideológicas que ello tiene en el
primer gran espectáculo de masas de la
modernidad.
The aim of this paper is to reflect on one of the most invisible in‐ gredients of the Spanish Golden Age theatre: instrumental music and acous‐ tic effects that do not include the partic‐ ipation of singers. Through the analysis of all the occurrences of cajas or per‐ cussed military drums in the plays of Francisco Bances Candamo, with the difficulty that supposes the generalized scarcity of stage directions destined to the instrumental music, a dramatic strategy is drawn to link the ear with war, either to animate to the soldier, or for the funeral honors of the fallen, with the ideological implications that this has in the first great mass spectacle of mo‐ dernity.
The aim of this paper is to reflect on one of the most invisible in‐ gredients of the Spanish Golden Age theatre: instrumental music and acous‐ tic effects that do not include the partic‐ ipation of singers. Through the analysis of all the occurrences of cajas or per‐ cussed military drums in the plays of Francisco Bances Candamo, with the difficulty that supposes the generalized scarcity of stage directions destined to the instrumental music, a dramatic strategy is drawn to link the ear with war, either to animate to the soldier, or for the funeral honors of the fallen, with the ideological implications that this has in the first great mass spectacle of mo‐ dernity.
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