Painting and Perspective in Calderón's El príncipe constante

Abstract

The article studies the textual references to painting and perspective in Calderón's play El príncipe constante within the context of contemporaneous scenography and art theory. It explores the possibility of a parallel between the textual references and the actual application of painting and perspective in stage design. This parallel leads to a further understanding of Calderón's interest in painting and his view on its function in theater. The play of El príncipe constante reveals the dual effect of visual verisimilitude: it is poignant and convincing and, at the same time, misleading and deceptive. The study intends to clarify how Calderón presents characters' optical experiences as a reflection ofthe audience's reception of the theatrical stage, and to argue that the ultimate goal of such a manipulation is didactic: the playwright's attempt is to show his spectators the way of looking beyond the verisimilar for an allegorical message that conveys Christian doctrines. Calderón offers the play to the public as a spiritual exercise rather than simply a representation of factual truth. (YS)

«La pasión del orden». Convergencias virtuales en el linealismo alegórico de «Dos ángeles y un santo arzobispo» y en la simbología teológica del auto sacramental calderoniano

“…Luis Galván Moreno, por otro lado, analiza la «justicia» en Quién hallará mujer fuerte 14. Shao, 2006. 15.…”