Abstracts
Abstract
This article takes a multi-sensory approach to the baroque drama de honra in order to enlighten the sensory expectations (thirst for blood and body horror) of the public who came to witness how several women accused of adultery were killed on stage. In this case, the effects of the tragedy are constructed from uxoricides sometimes performed in explicit sacrificial rituals. Thus, every studied play contributes to the creation of a school of exemplarity in the emotional community of theatregoers through the morbid excitement of the senses aroused by violence. From Doña Mencía’s ritualistic death in El médico de su honra (1635) to the Machiavellian manslaughter orchestrated by the Duke of Ferrara in El castigo sin venganza (1631), smell, touch, sight, and hearing all play a role in the configuration of the oppressive atmospheres that are characteristic of honour plays. Acting stimulates the senses of the audience, who thereby perceives the endangered corporeality of the murdered women. Their deaths, represented in an exceptional way, are key to the reception of the four comedias analyzed here.
Keywords:
- Wife Murder Plays,
- Ritual,
- Performance,
- Golden Age Spanish Drama,
- Baroque Stage,
- Multi-sensory Approach
Résumé
Cet article propose une approche multisensorielle au drama de honra baroque afin d’éclairer les attentes sensorielles (soif de sang et horreur corporelle) du public venu assister à la mise à mort, sur scène, de plusieurs femmes accusées d’adultère. Dans ce cas, les effets de la tragédie sont construits à partir d’uxoricides parfois réalisés dans des rituels sacrificiels explicites. Ainsi, chaque pièce étudiée contribue à la création d’une école d’exemplarité à l’intérieur de la communauté émotionnelle des spectateurs, principalement à travers l’excitation morbide des sens éveillés par la violence. De la mort rituelle de Doña Mencía dansEl médico de su honra (1635) au massacre machiavélique orchestré par le duc de Ferrare dans El castigo sin venganza (1631), l’odorat, le toucher, la vue et l’ouïe jouent tous un rôle dans la configuration des atmosphères oppressives qui caractérisent les drames d’honneur. Le jeu des acteurs stimule les sens du public, qui perçoit ainsi la corporalité menacée des femmes assassinées. Leur mort, représentée de manière exceptionnelle, est la clé de la réception des quatre comédies analysées ici.
Mots-clés :
- Théâtre,
- Féminicide,
- Rituel,
- Performance,
- Drame,
- Siècle d’or espagnol,
- Scène baroque,
- Approche multisensorielle
Appendices
Bibliography
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