140:"Who with these is not aquainted? Who, whom fame of them not reached? Who in wonderment beholds not Their rare wit and sounding phrases? And allowing that it is true, Is it not strange that I should venture In their name now to entreat you That, because of the great rev'rence Which to their rare works is owning, While their plays are prepresented, You may pardon the shortcomings Of the players who perform them."
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116:. His loas tend to have no connection to the play that follows and are characterized by their playful, humorous, trivial and always ending with a positive appeal to the audience for the rest of the performance. Vega's loas vary from 100 to 400 lines and he is thought to have written a lot of them but nearly all have been lost.
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came onto the stage to sing a ballad (seguidilla) and immediately after an actor or member of the company came on stage to "echar la loa" or "throw out praise" by reciting a loa. Most comedia playwrights (autors) also wrote loas asking the audience for silence in order to enjoy the afternoon of theatre.
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In order to gain the audiences attention and appreciation, one could commend the story or the author; reprimand negative critics or thank those that were positive and the audiences present that day; discuss and argue about the play that was to be presented. The third method was not often used because
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During 16th century public presentations of comedias in Madrid, Spain, performances would begin at 2pm. Audiences would arrive early and vendors would sell foods. Soon these audiences would become impatient and start loudly hissing, whistling and shouting. One hour before the performance, musicians
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audiences would be told the outcome of the play before they were able to hear it. In turn, the
Spanish loa was created as a mixture of all of these methods of achieving audience appreciation before the full-length play began.
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Loas sometimes did but often didn't have any relation to the full-length play being presented. Loas appeared in two distinct forms. The first was in a monologue form and the second was in the form of a short dramatic scene.
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Because of the monologue form of the Loa, it is also considered the origins of monologue in Latin
America. Monologues appeared in loas or laudatory prologues or introductions in the plays of Spanish America and are called
48:. The purpose is to initially capture the interest of the audience and to set the mood for the rest of the performance. This Spanish prologue uses praise and laudatory language to introduce a full-length play.
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depicts the life of 16th century
Spanish actors. It starts with characters leaving the city Seville. Rojas writes a loa that praises Seville which is meant to be spoken to the people of that city.
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is said to have "perfected" the
Spanish comedia. The drama of the Spanish Golden Age is often characterized by his work so that pre- Lope de Vega drama of the 16th century is said to have used the
81:, Spanish dramatist, is the earliest known writer of Spanish comedias. It is important to note, in order to be considered a Spanish comedia, a Spanish play must only be in verse and in three acts (
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Normally loas were written with the use of regular doors, windows, curtains and stage but in this example machinery is also used. In the stage directions of
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two actresses playing specific descend onto the stage. The loa ends in a dance with torches that are handed to the actresses from below the stage.
176:. He also wrote loas for his own plays that were used specifically to understand the particular play that followed. An example is in his loa to
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The subjects of praise in his loas varied from praising a city, the company of actors performing, thieves, the day
Tuesday, teeth and pigs.
149:"And if long have been my praises Of an animal so lovely, May he who should be one pardon Me, and therefore not feel shameful."
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His loas included monologues and short sketch scenes that the whole company of actors participated in. His most famous loa is the
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Quiñones de
Benavente similarly wrote loas that were used to preface any comedia mostly unrelated to the loa.
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are early forms of the loa that provide a summary or explanation of the comedia that follows it.
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To find the right sandbox for your assignment, visit your
Dashboard course page and follow the
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A History of the
Spanish Stage from the Medieval Times until the end of the Seventeenth Century
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Calderon wrote loas specifically for plays that had been previously written, which he called
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A History of the
Spanish Stage from Medieval Times until the end of the Seventeenth Century
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Loa que se hizo de limosna en Toledo, para el Santo
Christo del Pradillo de la Vega,
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45:
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Pasquariello, Anthony M. (1970). "The Evolution of the Loa in Spanish America".
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edited by Joseph Gillet, University of Pennsylvania, 1951, Philadephia.
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El viaje entretendio de Agustin de Rojas, natural de la villa de Madrid.
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Songs in the Plays of Lope de Vega: A Study of Their Dramatic Function.
85:). Content can be comedic or tragic. In Naharro's volume of plays,
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Lope de Rueda wrote and spoke himself, introductory notes called
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Introito and Loa in the Spanish Drama of the Sixteenth Century
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is a short theatrical piece, a prologue, used to introduce a
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not the sandbox where you should draft your assigned article
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Propalladia and Other Works of Bartolomé de Torres Naharro,
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link for your assigned article in the My Articles section.
309:. United Kingdom: Cambridge University Press. p. 54.
89:(published in 1517 in Naples), he uses what is called an
364:. Great Britain: Oxford University Press. p. 381.
349:. Great Britain: Oxford University Press. p. 508.
279:. New York: Dover Publications, Inc. pp. 274–286.
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A translation of the end of the swine praising loa:
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published and became well known for his loas in his
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The Independent Monologue in Latin American Theater
495:. You can use it for testing or practicing edits.
403:Poemas de la unica poetisa americana musa dezima.
277:The Spanish Stage in the Time of Lope de Vega
8:
334:. Philadelphia: University of Pennsylvania.
305:Delgado, Maria M.; Gies, David T. (2012).
447:. Planeta Publishing Corporation, 2005.
438:The Theatre in Nineteenth Century Spain.
426:Joan Pasquesto de Sallo, 2007, Naples.
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459:Historia del teatro breve en Enspaña.
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501:for a dashboard.wikiedu.org course.
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440:Cambridge University Press, 2005.
405:Antonio Bordazar, 1709, Valencia.
69:"Autors" or Playwrights of the Loa
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452:El teatro breve en la Edad de Oro
408:de Rojas Villandrandro, AgustĂn.
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152:Published in 1604, Rojas' novel
112:which was soon replaced by the
422:de Torres Naharro, Bartolomé.
415:de Torres Naharro, Bartolomé.
379:. Greenwood Publishing Group.
133:Loa en Alabanza de la Comedia.
1:
445:Diccionario de teatro español
443:Huerta Calvo, Javier, et al.
307:A History of Theatre in Spain
292:Latin American Theatre Review
275:Rennert, Hugo Albert (1963).
120:Agustin de Rojas Villandrando
466:Historia del teatro español.
330:Meredith, Joseph A. (1928).
222:Evolution into the New World
125:Agustin de Rojas Villandrano
454:. Laberinto, 2001, Madrid.
189:Introito que hace el Autor.
79:Bartolomé de Torres Naharro
74:Bartolomé de Torres Naharro
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489:This is a user sandbox of
412:B. RodrĂguez Serra, 1901.
178:Los tres mayores Prodigos.
431:TeorĂa de la literatura.
429:GarcĂa Berrio, Antonio.
401:de la Cruz, Sor Juana.
375:Rhoades, Duane (1985).
360:Shergold, N.D. (1967).
345:Shergold, N.D. (1967).
154:, El viaje entrentendio
464:Huetra Calvo, Javier.
461:Iberoamericana, 2008.
457:Huerta Calvo, Javier.
450:Huerta Calvo, Javier.
436:Gies, David Thatcher.
433:Cátedra, 2007, Spain.
205:Colloquio de Timbria.
199:for his later plays,
160:Quiñones de Benavente
129:Entertaining Journey.
168:Calderon de la Barca
471:Umpierre, Gustavo.
201:Colloquio de Camila
229:elogios dramaticos
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294:. 3, no. 2.
231:in Brazil.
95:aurgumentos
240:References
197:argumentos
87:Propaladia
193:introitos
514:Get Help
497:This is
110:introito
91:introito
83:jornadas
210:Staging
52:History
41:in the
38:comedia
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174:autos
16:<
381:ISBN
311:ISBN
203:and
195:or
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33:loa
247:^
31:A
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