Publication: Subversión y heterodoxia en los entremeses cervantinos
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2007
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Reichenberger
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Abstract
A través de una lectura de los entremeses cervantinos en clave heterodoxa y subversiva, el presente trabajo aborda la posibilidad de considerar estas piezas como un verdadero vehículo de transmisión y denuncia, no sólo de la crisis de valores en la que se encontraba sumida la España del momento, sino del descontento y el desencanto del propio autor con respecto a los parámetros sociales en los que le tocó vivir. Aprovechándose de las licencias que estaban permitidas al género breve y quizás también, y de manera paradójica, de las propias limitaciones que le imponía un sistema en el que su obra dramática no tenía cabida, Miguel de Cervantes se atreve a cuestionar, a veces de manera implacable, los mismísimos fundamentos en los que se sustentaba el orden eclesiástico, social y político de su tiempo.
This essay approaches Cervantes’ "entremeses" from a subversive and heterodox perspective. In so doing, it is possible to accomplish different goals: firstly, we can consider these plays as a true vehicle to transmit and condemn the crisis of values affecting Spain at that time; secondly, the author’s discontent and disappointment regarding the essence of the society he lived in. Cervantes not only took advantage of the dramatic licenses allowed to the short drama as a genre but also, in a quite paradoxical way, of the limitations imposed by a system that did not give him any chance as a playwright. As a result of that, he dared to attack, sometimes in a fierce manner, the very foundations on which the ecclesiastical, the social and the political order were maintained in his time.
This essay approaches Cervantes’ "entremeses" from a subversive and heterodox perspective. In so doing, it is possible to accomplish different goals: firstly, we can consider these plays as a true vehicle to transmit and condemn the crisis of values affecting Spain at that time; secondly, the author’s discontent and disappointment regarding the essence of the society he lived in. Cervantes not only took advantage of the dramatic licenses allowed to the short drama as a genre but also, in a quite paradoxical way, of the limitations imposed by a system that did not give him any chance as a playwright. As a result of that, he dared to attack, sometimes in a fierce manner, the very foundations on which the ecclesiastical, the social and the political order were maintained in his time.
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