La vida es sueño-Calderón de la Barca

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Yes, I was nervous. It was noticeable, because in the works I have faith that they are great, all of them. Come on, anything else? From the literary context, well, we know who are the contemporaries of Caldeón, right? Yes, also, well, that there was, that the themes of the Renaissance changed a lot, I mean, not the themes, but the way of expressing the Renaissance with that of... With that of the Baroque. With that of the Baroque. Here, the dynamism and the tension were fundamental. And also, well, new genres, I mean, we have a cultism, we also have the culturanism of Luis de Góngora, the conceptism, which are two currents that were implemented in this time, which are completely opposite. Yes, they are opposite, right? The contented conceptism, right? And the cultured form, but in the end it is the sophistication of language, right? The face of the same coin. That's it, very good, Alejandra. I mean, it's like the same thing, right? The recharging of language in the content of the form, right? And another thing of the Baroque is misleading, right? Yes, and pessimism. And they no longer focus so much on balance and symmetry, but more on metaphysics and more on the senses and everything is deeper. Very good. In some way, romanticism is also preparing later, right? The fantasy of the Baroque will later serve the romantics, right? Yes. Very good. Come on, let's go with the dream life. Let's see. Well, I'm going to tell you a little bit about the plot and the plot of the work, which, well, to put ourselves in context, is a theatrical work. And well, it starts when, after having been abandoned by his horses, Rosaura, disguised as a man and a knight, and Clarín, his companion, walk through the mountains of Poland, where the work is located, but they have no place to go to, since, as I have said, they have been left there without the horses and they have to go on foot. So, on their journey to nowhere, really, they meet a tower. They meet a tower. In that tower is when they meet, and he introduces himself first in the play, to Sigismund. And also Clotaldo appears, who is his jailer and also his tutor. Well, Clotaldo, seeing Rosaura and Clarín, who are intruders, orders the knights who were there to kill them. Then, Clotaldo, at a glance, sees that Rosaura carries a sword that he had given to his son when he abandoned him, but well... He knew he had someone, he had a son or a daughter, right? And he didn't know much about it. So, he's left with the fly behind his ear. So, that's why he forgives them for life. Then, later, in the court, we meet Estrella, who is worried about a reliquary that her fiancé Estolfo carries, in which he carries a portrait of another woman, who is not Estrella. And, well, we also meet Basilio, who is the king and also Sigismund's father, who, at that moment, reveals that he imprisoned his son as a cause of a prophecy that he had heard, that his son, it was possible that if he reached the throne, he would commit atrocious acts, kill his own father, Basilio, in addition to doing other things that would greatly harm both the kingdom and the court in general. And that's why he tells us that he decides to lock him up, right? Since he was a child. Of course. And he locks him up with Clotaldo, who was his tutor, to teach him how to speak, as they teach us. But he gives him an opportunity, right? He says he's going to give him an opportunity. Yes. So, he thinks of giving him just one chance. But, well, for what they drug him and take him to the court, to the castle, and they make him wake up in a normal morning and he's king. Then, well, things happen and Sigismund fulfills what this prophecy said. He does atrocious things, kills a servant, etc. But when night comes, they drug him again and send him back to the tower. Then, when he wakes up, he thinks that what he has had has not really happened and it has been just a dream. But, since he's there alone, he starts to reflect. So, it's this reflection that leads him later, when we see that there's going to be a revolt by the people because they find out about Sigismund's existence, since his father Basilio had not introduced him to the people. At that moment, it's when he reflects and says, if I had a second chance... If I had a second chance, all these things and atrocities that I have committed I would never do them again. And then it's when he manages to get to the court, so to speak. They overcome the rebellion, right? Of course. And, well, when he half-defeated his father, so to speak, but he doesn't manage to kill him, since he's his father and these comedy plays always have a happy ending. And, well, Clotaldo, no, Sigismund becomes a good king thanks to this reflection that he has given to his father. And he also marries Estrella. Ah, look, yes, very good. And Clotaldo knows that Rosaura is his daughter, right? Of course. That's it. Well, in any case, here the reflection, as you have said, Gonzalo, is that even in dreams you have to act well. You don't know when you're in a dream and when you're in reality. You don't know what's true and what's a lie, but that by acting well you always get it right, right? Of course. That's a bit of the thesis, so to speak, of life is a dream, right? Very good. What else? Characters. You have already told us a lot. Maybe it's not necessary to insist much more. Especially the character of Sigismund. What can you tell us about Sigismund? Alejandra. I can tell you that he is one of the most complex characters in the novel. Well, in the play. In the play. In the play. He is very deep and, well, he has a violent and wild behavior, but this has a reason and it is because he has been locked up for many years. From this we can say that Basilio is one of the causes of the behavior that he has destined, but we can say that it is not that he was destined, it is that he was being chained. Of course. This is the self-fulfilled prophecy. If you think something is going to happen, you get it. Of course. Why? Because you straighten it to that side, right? Of course. And if you mistreat your son, what you fear can happen to you. Of course. Yes. Then we can get something out of some character. For example, Rosaura, who has a very determined personality. She seems to be a very brave and very independent woman. Then Clarín is the typical comic. He is a character with typical features of a child of Baroque comedy. He is a fairly atypical character, since the play itself is not comic, it is more like a tragedy. So he stands out a lot. And then Clotaldo has a feeling of loyalty and we can say that it is the link point between the two stories. The main one, which is that of Segismundo, and the secondary one, which is that of Rosaura. And Astolfo, we can say that he is not a person who moves especially for love, but more for interest. But at the same time, he continues to love Rosaura. So we see two sides of him that are quite different. And then Astrella, a character who does not seem to move much for love, and yet she marries Segismundo, who does not give signs of love to him either. Very good. In any case, in Calderón de la Barca we no longer find characters as flat as in Lope de Vega, but as you have said, it gives them depth. And it brings us a little closer to another great of literature, which is Shakespeare. Very good. Finally, something to say about the style and Calderón de la Barca? I'm going to tell you a little about the theme and how the play is organized. The play. Very briefly. Well, it has nine themes, so large-scale, which are family, honor, authority, reality, the value of the individual, prophetic beliefs, freedom, love and friendship. And well, then the play is divided, so to speak, into three parts, which are three acts, which Calderón decides to call the Journeys, and which follow the same rules as comedy, which, as I mentioned before, is a theatrical style that is very characteristic, along with the picaresque novel of the Golden Age and especially of the Baroque. And well, these Journeys that Calderón de la Barca creates follow the same rules as this comedy, but also, due to the historical context in which we find ourselves, this play has some propagandistic purpose, either of ideology or performance, to try that the audience and all those people to whom this play reaches, try to imitate it or follow it as a kind of script. In addition, this type of theater, comedies, it is said that Lope de Vega is its creator, but well, really Lope de Vega creates some very flat characters, and Calderón, no, Calderón, due to his situation as a priest and philosophy, well, he makes them very deep, and so on, in short, to great features. And also the language, the language is also more worked than Lope's, Lope versifies very well, but Calderón's is more worked, there are more stylistic resources, right? Well, nothing guys, we're running out of time, thank you very much for joining us on this radio show, and nothing, we hope you have been encouraged, that we have encouraged the reading of this great classic, which is La vida es sueño, right? Well, thank you again, and nothing, may literature continue to exist and live. Translated & subtituled by Lic. Laura Virginia Mor.