Reviewed by:

• Performing the King Divine: The Early Modern Spanish Aulic Festival by Lucas A. Marchante Aragón
• Alejandra B. Osorio

THE STUDY OF EARLY MODERN COURTLY CEREMONIES has experienced a significant surge in the last decade or so, revealing their centrality in the public and political cultures of Europe and its empires. These studies have, among other things, identified early modern courts as centers of great artistic production that enriched material and cultural life, while also enhancing the power of their monarchs or princes. Monarchs and nobles often commissioned artistic works from painters, architects, and musicians—as well as writers, historians, poets, and philosophers—for inclusion in courtly plays and ceremonies. As these events conveyed the patrons’ habits, tastes, and worldviews, they shaped early modern societies, delineating the hierarchies that ordered them and those of the more private sphere of the court. The production and staging of royal triumphal entries, masques, ludic games, and plays employed all the arts available to rulers to exercise their authority and instruct wider audiences on the workings of social and political power.

In the specific case of court theater, new techniques combining music, dance, architecture, perspective scenery, and sophisticated stage machinery enhanced written texts, producing great works of “magical illusion at the service of the exaltation of the monarch” (6). Performing the King Divine examines these various techniques in Spanish court theater, not just as printed literature but also as dramatic texts that came to life through a “net of communicative strategies, verbal and otherwise, that formed part of the [overall] spectacle” (8). Moving chronologically, Marchante Aragón examines transformations in court theater from the late Middle Ages, during which it conveyed the king’s physical proximity to the divine, to the end of the seventeenth century, when it presented the Spanish Habsburg king Charles II as himself a divine being. In examining this process, the author draws from speech act theory the notion of the “performative utterance.” This approach informs the title of the book, Performing the King Divine; in other words, onstage performances of kingship produced monarchical divinity. [End Page 165]

One characteristic of early modern court theater that made these transformations possible was the inclusion of the patron in the audience as part of the spectacle, dissolving the boundaries between the “real” and the “performed” worlds. Such blurring of boundaries conveyed to audiences the special link between the worldly and the divine, as found, for example, in the court dramas created at the turn of the sixteenth century by Juan del Encina and Gil Vicente. Such associations worked within a larger courtly ceremonial language derived both from political thought and from ritual performances aimed at legitimating kingly rule. Under the reign of Charles I (1516–56), as part of the claim to the imperial title that in 1519 made him Holy Roman Emperor Charles V, Habsburg dynastic language came into use in Spanish court theater. According to Marchante Aragón, this language was founded on “fabulous genealogical arguments” (87–95) entrusting the Spanish Habsburg with the “providential mission of restoring the earthly Paradise represented with images of the classical Golden Age” (10). These genealogies connected the emperor with Jesus Christ via the Roman emperors, gods of antiquity, and priest-kings of the Old Testament the Habsburg claimed as their ancestors, ultimately transforming him into the ruler best positioned to bring back the Golden Age. Charles V’s divine descent and genealogical rights along with his inherited virtues were made explicit in plays by means of the use of mythological imagery.

Habsburg genealogies and mythological imagery were imbued in larger fields of meaning. The salón de saraos, the theatrical space built circa 1605 in the royal palace in Valladolid, was designed in such a way that its decorative and architectural programs were essential components of the “performative text” (105). The building itself was part of a dynamic creation of meaning, as for Marchante Aragón, this space was intended “to create and fix the memory of a divinely ordained imperial dynasty by displaying a series of symbols in its architecture...

审核人：

• 表演神王：卢卡斯·马尔凯特·阿拉贡（Lucas A. MarchanteAragón）举办的早期现代西班牙Aulic节
• 亚历杭德拉·奥索里奥（Alejandra B.Osorio）

早期现代礼仪研究在过去的十年左右的时间里，它经历了显着的增长，显示了它们在欧洲及其帝国的公共和政治文化中的中心地位。这些研究除其他外，将早期的现代法院确定为伟大艺术创作的中心，这些中心丰富了物质和文化生活，同时也增强了其君主或王子的力量。君主和贵族经常委托画家，建筑师和音乐家以及作家，历史学家，诗人和哲学家创作艺术作品，以包括在宫廷戏剧和仪式中。这些事件传达了顾客的习惯，品味和世界观，从而塑造了早期的现代社会，描绘了命令他们和法院更私人领域的等级制度。皇家凯旋门，面具，喜剧游戏的制作和演出，

在法院剧院的具体案例中，结合音乐，舞蹈，建筑，透视风景和复杂的舞台机械的新技术增强了书面文字，产生了“为幻魔般的幻觉服务于君主”的伟大作品（6）。表演神王考察了西班牙法院剧院中的各种技术，不仅是印刷文学作品，还包括通过“语言交流或其他形式的交流策略网络而生动起来的戏剧文本”，这些文本构成了[整体]景象的一部分（8）。MarchanteAragón按时间顺序移动，考察了中世纪晚期法院剧院的转型，在此期间，国王的身体与国王之间的距离接近，直到十七世纪末，西班牙国王哈布斯堡王朝国王查理二世将自己描述为神圣的生物。 。在考察这一过程时，作者从言语行为理论中汲取了“表现性言语”的概念。这种方法使该书的标题为《表演国王的神圣》。换句话说，王权的舞台表演产生了君主的神性。[结束页165]

使得这些转变成为可能的早期现代法院剧院的一个特征是，将观众作为观众的一部分纳入观众席，从而消除了“真实”世界与“表现良好”世界之间的界限。这种界限的模糊向观众传达了世俗与神圣之间的特殊联系，例如，在16世纪初胡安·德尔·恩西纳（Juan del Encina）和吉尔·维森特（Gil Vicente）创作的宫廷戏剧中就可以找到这种联系。这样的协会以一种更大的宫廷礼仪语言工作，既来自政治思想又来自旨在使国王统治合法化的仪式表演。在查理一世（1516–56）统治期间，作为对1519年使他成为神圣罗马皇帝查理五世的帝国头衔的要求，哈布斯堡王朝的王朝语言在西班牙宫廷剧院开始使用。根据MarchanteAragón的说法，该语言的建立基于“神话般的族谱论证”（87-95），委托西班牙哈布斯堡王朝承担“恢复以古典黄金时代的形象代表的尘世天堂的重大使命”（10）。这些家谱通过罗马皇帝，古代神灵和哈布斯堡王朝声称的祖先的旧约神父将皇帝与耶稣基督联系在一起，最终使他成为最适合带回黄金时代的统治者。查理五世的神圣血统和家谱权利以及其继承的美德通过使用神话意象在戏剧中得到了明确体现。该语言基于“神话般的族谱论证”（87-95），委托西班牙哈布斯堡王朝承担“恢复以古典黄金时代形象呈现的尘世天堂的使命”（10）。这些家谱通过罗马皇帝，古代神灵和哈布斯堡王朝声称的祖先的旧约神父将皇帝与耶稣基督联系在一起，最终使他成为最适合带回黄金时代的统治者。查理五世的神圣血统和家谱权利以及其继承的美德通过使用神话意象在戏剧中得到了明确体现。该语言基于“神话般的族谱论证”（87-95），委托西班牙哈布斯堡王朝承担“恢复以古典黄金时代形象呈现的尘世天堂的使命”（10）。这些家谱通过罗马皇帝，古代神灵和哈布斯堡王朝声称的祖先的旧约神父将皇帝与耶稣基督联系在一起，最终使他成为最适合带回黄金时代的统治者。查理五世的神圣血统和家谱权利以及其继承的美德通过使用神话意象在戏剧中得到了明确体现。哈布斯堡王朝（Habsburg）和旧约的牧师之王宣称自己是他们的祖先，最终使他成为最适合带回黄金时代的统治者。查理五世的神圣血统和家谱权利以及其继承的美德通过使用神话意象在戏剧中得到了明确体现。哈布斯堡王朝（Habsburg）和旧约的牧师之王宣称自己是他们的祖先，最终使他成为最适合带回黄金时代的统治者。查理五世的神圣血统和家谱权利以及其继承的美德通过使用神话意象在戏剧中得到了明确体现。

哈布斯堡族谱和神话意象被注入更大的意义领域。该沙龙saraos，在巴利亚多利德王宫建大约1605戏剧空间，被设计以这样一种方式，它的装饰及建筑方案是在“表演文本”（105）的重要组成部分。这座建筑本身就是充满活力的意义创造的一部分，就马尔琴特·阿拉贡而言，该空间旨在“通过在建筑中显示一系列符号来创造并修复神圣的朝代的记忆……