The Outrageous Juan RanaEntremeses

The Outrageous Juan RanaEntremeses: A Bilingual and Annotated Selection of Plays Written for This Spanish AgeGracioso

PETER E. THOMPSON
Copyright Date: 2009
Pages: 272
https://www.jstor.org/stable/10.3138/j.ctt19x3jm7
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  • Book Info
    The Outrageous Juan RanaEntremeses
    Book Description:

    The Outrageous Juan Rana Entremesestranslates a selection of Juan Rana's interludes for the first time, highlighting their literary complexity and providing historical context for the many double meanings and innuendos they contain.

    eISBN: 978-1-4426-2140-4
    Subjects: Language & Literature, Sociology

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. Acknowledgments
    (pp. ix-2)
  4. Introduction: The Outrageous Juan Rana
    (pp. 3-20)

    In the Spanish Golden Age, theentremésor theatrical interlude was presented before and between the acts of the main-stage production and was an integral part of the seventeenth-century theatrical experience. It was more often than not written by a different author and produced by a separate company of actors who in many cases specialized in this genre. For many of these companies, actors, and playwrights theentreméswas their professional mainstay. Notwithstanding these facts, the significant role that the entremés played during the most important period of theatre in Spain has been much overlooked by critics. The reinsertion of...

  5. El guardainfante Iy II
    (pp. 21-62)
    Luis Quiñones de Benavente

    Written by Luis Quiñones de Benavente,¹El guardainfante Iy IIincorporate the most frequently employed theatrical, rhetorical, literary, and thematic devices present in many Juan Ranaentremesesand while separate and different entities, both works are intrinsically linked by their questioning of patriarchal power and gender. As in many of hisentremeses, Juan Rana plays a bumbling country bumpkin mayor, a role he is said to have immortalized. The double, the main rhetorical figure in many Juan Rana plays, is pivotal in these two works. In this case it presents itself as a false mayor/female alter ego. The symbolic use...

  6. Los muertos vivos
    (pp. 63-92)
    Luis Quiñones de Benavente

    Los muertos vivoswas written by Luis Quiñones de Benavente¹ and centres on a brother’s refusal to allow his sister to wed a young man. As a result, the sister and her fiancé play a vindictive trick on the protagonist. The sister, with the aid of her suitor, trick the protagonist into believing that he is dead. What ensues is a series of comical situations where the ‘dead’ does not act as a corpse. The initial sword-play between the main character and his prospective brother-in-law lends itself to homosexual misunderstandings between the two....

  7. El parto de Juan Rana
    (pp. 93-120)
    Francisco Pedro Lanini y Sagredo

    El parto de Juan Rana, written by Francisco Pedro Lanini y Sagredo,¹ puts into question gender and identity roles within a patriarchal context and goes one step further into the realm of a gender-bending fantasy. Here Juan Rana is an entrapped spouse who histrionically endures labour pains in the act of giving birth onstage. With thisentreméswe enter into questions of biological differences between men and women and the legal ramifications of crossing the biological and gender line. This could easily be one of the most outrageous of the many Juan Ranaentremeses. See Velasco for an engaging study...

  8. Las fiestas del aldea
    (pp. 121-142)
    Francisco Bernardo de Quirós

    Francisco Bernardo de Quirós’s¹Las fiestas del aldeabegins with a fellow character reproaching Juan Rana for the vice of gluttony, a staple of his mask. He names foods upon which Juan Rana has overindulged. The case of Juan Rana’s ingestion of the neighbouring young man’s wine is of particular interest. In this case, many euphemisms and double entendres point to a homosexual interpretation. The remainder of theentreméscan be divided into two parts. In the first, the actors watch a mock and mocking metatheatrical production of a Lope de Vega short religious play. This production is continuously interrupted...

  9. Una rana hace ciento
    (pp. 143-160)
    Luis Belmonte Bermúdez

    The title of thisentremés, written by Luis Belmonte Bermúdez,¹ is a variation of the popular sayingun loco hace ciento. It speaks to the powerful influence that a bad example has in spreading vices and bad habits (Campos and Barella) or ‘one bad apple can spoil the whole bunch.’ Alternatively there is also the expression,un bobo hace reir a ciento, si le dan lugar y tiempo, or ‘a fool will make a hundred people laugh, if given the chance.’ Here it is Juan Rana that makes his audience laugh but his female cohorts are also persuaded by example...

  10. El desafío de Juan Rana
    (pp. 161-186)
    Pedro Calderón de la Barca

    Pedro Calderón de la Barca’s¹El desafío de Juan Ranaepitomizes the ongoing moral debate in the baroque era against the effeminization of men, the corresponding fear of homosexualization, and ultimately the moral, economic, and military weakening of the empire. Here the playwright, in collusion with Juan Rana, produces a parodic exposé of the new urban baroque Spanish male seen to be a weakened simulacrum of a real man. It would seem at least in Calderón’s eyes that the moralists were fighting a losing battle. The playwright was undoubtedly aware of this great gender and sexual debate and the general...

  11. El retrato de Juan Rana
    (pp. 187-208)
    Sebastián de Villaviciosa

    The portrait noted in the title is the chief theatrical motif and motor of thisentreméswritten by Sebastian de Villaviciosa.¹ During this period the sitter, usually a person of great social and political stature, controlled what was to be painted and how. However, subject matter had already begun to change as seen in many of Velázquez’s portraits of commoners.El retrato de Juan Ranaexposes the selective and deceptive view of the subject and reality, while representing the evolution of the portrait as a genre. While surely an allusion to the existing Juan Rana portrait presently in the collection...

  12. La boda de Juan Rana
    (pp. 209-230)
    Gerónimo Cáncer y Velasco

    InLa boda de Juan Rana, written by Gerónimo de Cáncer y Velasco,¹ Juan Rana once again plays the role of a mayor but here he has not yet acquired his infamous wife side-kick.La bodarepresents, therefore, a rarity in the Juan Rana repertoire in the sense that the Juan Rana character is not depicted as a henpecked husband but rather as a bachelor. What we find, however, is a Juan Rana whose bachelorhood has caused gossipy tongues to wag. His theatrical sidekick has taken it upon himself to find the perfect match for the protagonist. While at first...

  13. La loa de Juan Rana
    (pp. 231-254)
    Agustín Moreto y Cavana

    In Agustín Moreto y Cavana’s¹La loa de Juan Rana, a disgruntled Juan Rana receives a petition from the royal family demanding that he perform at the royal palace but Juan Rana is reluctant and must be persuaded. During the course of theentreméshe is tricked into believing that the actors, both male and female, that appear within a frame reflect his great acting and transformist abilities.La loafulfils its purpose as a scintillating opening act that creates an intriguing point of departure for the afternoon’s royal entertainment. The first performance ofLa loatook place on 22...

  14. Juan Rana muger
    (pp. 255-274)
    Gerónimo Cáncer y Velasco

    InJuan Rana muger, written by Gerónimo Cáncer y Velasco,¹ Juan Rana’s wife vindictively dresses her husband as a young maiden while he is sleeping. When he awakes, with the aid of her cohorts, Juan Rana is tricked into believing he is a young maiden. This pattern fits the manyentremesesin which Juan Rana’s wife plays a joke on her husband to avenge his slothful demure and chauvinist attitude and actions toward her. Thisentremés, like many other Juan Ranaentremeses, uses metatheatre or, more precisely, multiple levels of reality as its main theatrical tool. Here cross-dressing allows gender...

  15. El triunfo de Juan Rana
    (pp. 275-298)
    Pedro Calderón de la Barca

    InEl triunfo de Juan Rana, written by Pedro Calderón de la Barca,¹ the actor plays a statue of himself. Theentremésin its entirety is a public and royal celebration of Juan Rana’s great talent, and long and successful career as an actor. Considering Calderón de la Barca was the most important and influential playwright of his time, his celebratoryentremésbears witness to the public and professionalfamaand acclaim that Juan Rana enjoyed during his lifetime. Calderón de la Barca wroteEl triunfo de Juan Ranaas a tribute to the longevity and successful career of Juan...

  16. Bibliography
    (pp. 299-306)