Abstract:

In November 1640, at the Colegio de San Pedro y San Pablo in Mexico City, the Society of Jesus offered the newly arrived viceroy of New Spain, the Marqués de Villena, a performance of the Comedia de San Francisco de Borja, written by Matías de Bocanegra. Bocanegra based this piece on the biography of the saint written by Ribadeneyra, particularly the section in which the latter discusses Borja's path to holiness. This study focuses on some of the peculiarities regarding the use of scenic resources in the staging of the work. For example, the school's Senior Studies patio was set up with planks for both seating and the stage, while the back wall of the stage was decorated with a "brush arch" with three doors: a triumphal arch. I underscore the onstage presence of the "brush arch" and how it contributes to the understanding of the physical and dramatic space of the work, to the development of the action, and to the laudatory purpose of the piece. The actors were all male students around fourteen years old, a detail worthy of consideration in a play that includes female characters and characters that age considerably between the first and third acts. The information provided in this study forms part of a general effort to enrich our knowledge of Jesuit theatrical production in seventeenth-century New Spain.

摘要：

1640年11月，耶稣会在墨西哥城的圣佩德罗y圣巴勃罗市向新来的西班牙总督侯爵（Marquésde Villena）提供了新的总督，这是圣弗朗西斯科·德·博尔哈（Comedia de San Francisco de Borja）的表演由Matíasde Bocanegra撰写。博卡内格拉（Bocanegra）的作品是基于里巴德涅拉（Ribadeneyra）撰写的圣人传记，特别是后者讨论博尔嘉通往圣洁之路的部分。这项研究的重点是在工作进行过程中使用风景资源的一些特殊性。例如，学校的高级学习天井在座位和舞台上都装有木板，而舞台的后壁则装饰有带三扇门的“刷拱”：凯旋门。我强调“画笔弓”在舞台上的存在及其对理解作品的物理和戏剧性空间，对动作的发展以及对作品的美化目的的贡献。演员都是十四岁左右的男学生，戏剧中值得考虑的细节，包括女性角色以及在第一幕和第三幕之间年龄相当大的角色。这项研究中提供的信息是我们为丰富我们对17世纪新西班牙的耶稣会戏剧制作知识的全面努力的一部分。