Abstract

Music in Iberian early modern theater presents the complex challenge of recovery and coherent contextualization, especially in PreLopean theater. Diego Sánchez de Bajadoz deserves more attention not merely because some of his works operate as proto-zarzuelas but also because his drama pertains to a declining cycle in the trajectory of Spanish sacred theater. This essay will focus on how Diego Sánchez utilized music to intensify and inspirit sacred scripture to reclaim its luster, particularly in Farsa del juego de las cañas, alternating villancicos, coplas, hymns, singing, and dancing that bridged Iberian primitive and early modern musical thought, dramatic structure, and performance practice.

摘要

伊比利亚早期现代戏剧中的音乐提出了恢复和连贯语境化的复杂挑战，特别是在普洛普剧院中。迭戈·桑切斯·德·巴哈多斯 (Diego Sánchez de Bajadoz) 值得更多关注，不仅因为他的一些作品被视为原型，还因为他的戏剧与西班牙神圣戏剧轨迹的衰落周期有关。本文将重点讨论迭戈·桑切斯如何利用音乐来强化和激发神圣经文，使其重新焕发光彩，特别是在《拉斯卡纳斯》中，交替使用维拉尼科斯、科普拉斯、赞美诗、歌唱和舞蹈，将伊比利亚原始音乐思想与早期现代音乐思想联系起来。 、戏剧结构和表演实践。