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Spanish theatre (16th century): *
The sheer volume of drama contributed to its accessibility. It might also reflect emphasize on quantity over quality although a large number of works are considered masterpieces. Theatre embraced both secular & religious drama & state sponsored drama existed harmoniously alongside popular (for-profit) theatre; many artist contributed to both. Drama ranged from straight plays to operas, bawdy comedies to epic tragedies. Spain also developed original forms with the Comedia nueva & the Baroque zarzuela (1630–1750, a lyric-dramatic genre alternating between spoken & sung scenes, incorporating operatic & popular songs & dance). Spain enjoyed several unique traditions. Religious plays continued & were popular into the 1700s. Acting was an honourable profession, actors were accepted in church. Spain pioneered a 3-act model (versus the classic 5 acts) & women were allowed on stage; theatre had an organized, efficient system of actor contracts, travel stipends, license & booking.
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Theatre was a metaphor for life; honour (a major theme) was represented as reputation & juxtaposed against disillusionment & hypocrisy. Lope de Vega believed everyone reacts to honour Right versus wrong was also a common theme. Honourable (Christian) conduct is enforced by the public; you lose your honour if you live in shame and despair. Many plots focus on the fear of lost reputation & on masculine honour based on women's chastity. Women seem to control their men's honour but gender stereotypes were rarely challenged. Poverty is depicted everywhere, although the plays are filled with picturesque scenes, glorious churches & courts. Spanish playwrights did add cynicism in their work. The gracioso (the disillusioned clown, a stock character) survives in stories without concern for right or wrong.