호세 데 발디비엘소의 성체극과 코러스

Abstract

José de Valdivielso employs actively the chorus tradition from the history of European drama in his sacramental act. His sacramental act makes the most use of choruses, which deliver songs and dances as its expression method. By doing this, the dramatist intends to show a splendid baroque play stage and to provide dramatic interest. The author doesn’t divide between his own chorus and actors strictly, but he sets up for one another to change the roles, so he extends the music function of choruses to other actors. By maximizing the ocular effect through the elements of dances and songs which choruses have, Valdivielso relieves the solemn mood that a religious drama can have, and he provides audience with artistic interest. However, Valdivielso’s chorus does not stop simply at the level of the offering dances and songs as things to see, but it drags the sympathy out of audience through the emotional element of music,so it tries to maximize the audience’s response about drama’s theme. Like the ancient Greek tragedy, choruses play the role of a commentator and messenger who delivers religious messages of sacramental acts to audience effectively. As a result, a chorus achieves the religious purpose that a sacramental act has: the educational role for audience. By inheriting and developing the chorus function of Greek tragedy, Valdivielso achieves two purposes which a sacramental act should pursue as a religious drama: dulce et utile, the esthetics of Horatius. While the dramatist satisfies his audience through his splendid and emotional baroque play stage, he simultaneously accomplishes the educational function that delivers the religious ideal of Counter Reformation to the Spanish people of those times.