This article analyzes the technique of duplication focusing on the motive of the garden in La fiera, el rayo y la piedra, Apolo y Climene and Ni Amor se libra de amor. It starts from the symbolic construction of the garden in the baroque theatre and from the singularities that this space acquires in Calderón’s mythological comedies. The alteration of its traditional values cannot abolish its condition of the perfect setting for love. If this happens, the creation of new gardens will be needed. The study is particularly important in the last two plays mentioned, where the differences between the initial spaces and the duplicated ones are observed in their functions as well as in the conflicts and the topics that they carry.
Abstract
This article analyzes the technique of duplication focusing on the motive of the garden in La fiera, el rayo y la piedra, Apolo y Climene and Ni Amor se libra de amor. It starts from the symbolic construction of the garden in the baroque theatre and from the singularities that [...]