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Gil Vicente.
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The Portuguese dramatist and poet Gil Vicente (ca. 1465-ca. 1536), who wrote in both Portuguese and Spanish, ranks as one of the outstanding figures of the Iberian Renaissance.Almost nothing is known ...
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A dramatist of immense importance during early modern times in the Iberian Peninsula, Gil Vicente has been called the "inventor of modern Iberian theater": he was the first to write dramas in the main...
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In the following excerpt, Bell offers an overview of Vicente's career as a dramatist.
I
Goldsmith, musician, actor, dramatist, lyric poet, Gil Vicente is one of the most interesting figures of ...
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In the following excerpt, Tomlins discusses how the conquest of India affected Vicente's writing.
Gil Vicente has likely given to the modern world the first literary reflection of India outside...
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In the following excerpt, Sousa examines Vicente's depictions of both upper-class characters and peasants, as well as the language peculiar to both groups.
The words of my title—“...
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In the following excerpt, Garay studies the structure of the Comédia do Viúvo, maintaining that the play functioned as a means of conveying ideology rather than as merely entertainment.
...
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In the following excerpt, Suárez examines the carnivalesque elements in Vicente's plays that conform to the generic characteristics of ancient Menippean comedy.
In his study on Dostoevsk...
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In the following essay, Ferreira applies the principles of postmodern literary criticism to Vicente's play.
There is more work in interpreting interpretations than in interpreting things; and m...
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In the following essay, Suárez traces the way Vicente represented old people in his dramas; for the most part, the elderly are comic figures derided for their foolish and lecherous behavior.
Li...
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In the following excerpt, Lappin discusses Auto da Barca do Inferno and explains its importance in any attempt to understand Vicente's early career.
Life and Works of Gil Vicente
Gil Vicente fo...
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In the following excerpt, Parker provides an overview of Vicente's major farces and comedies.
When in the 1508-1509 period Gil Vicente turned back with vigor from his goldsmith's activit...
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In the following essay, Hart refutes the common critical opinion that Vicente's first romantic comedy lacks unity.
Many readers of Gil Vicente's Comédia de Rubena would doubtless ...
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In the following essay, Lihani explores the influence of Lucas Fernández on Vicente's playAuto Pastoril Castellano.
To answer the enigma of how the influence of Lucas Fernández (1...
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In the following excerpt, Stathatos discusses the textual and critical history of Floresta de Enganos.
Gil Vicente and the Court
For thirty-four years and under the patronage of two successive kings, ...
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In the following essay, Moseley examines Vicente's interest in the sea—an interest shared by his countrymen in the age of Portuguese exploration.
One of the salient characteristics of th...
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In the following excerpt, Parker contends that Vicente's work displays none of the features of Renaissance drama and is, in fact, firmly rooted in the medieval tradition.
There has been a good ...
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In the following excerpt, Hart maintains that in the play Casandra Vicente privileges character development over plot events.
A. A. Parker has observed that the Spanish comedia of the seventeenth cent...
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In the following essay, McGinniss discusses Vicente's use of dance to signal changes in scene and characterization in Auto de la sibila Casandra.
An outstanding feature of the Vicentine theater...
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Gil Vicente
Gil Vicente
Critical Essay by Aubrey F. G. Bell
