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Miguel Venegas and the Earliest Jesuit Theater
Choruses for Tragedies in Sixteenth-Century Europe
Series: - Jesuit Studies, Volume: 23
Author:
In Miguel Venegas and the Earliest Jesuit Theater, Margarida Miranda takes a fresh look at the origins of Jesuit theater and provides a detailed account of the life and work of Miguel Venegas (1529âafter 1588) within the Iberian tradition. The book details Venegasâs role as the founder of Jesuit theater in Portugal and the creator of a new musical genre, choruses for tragedies, which was gradually codified and emulated by successive generations of Jesuits. Venegasâs Latin tragedies in turn provided the model for regular dramatic activities in the global network of Jesuit schools, including, significantly, the first tragedies to be staged in Rome: Saul Gelboeus and Achabus, both of which had originally been performed in Coimbra in the mid-sixteenth century.
Margarida Miranda, PhD (Coimbra University, 2002) is professor of classical and humanistic studies at Coimbra University. She has published monographs and many articles on classical and Jesuit studies, including a modern Portuguese translation of the Ratio studiorum (1599).
Acknowledgments
List of Abbreviations
Introduction
1 Miguel Venegas of Ãvila
â1 Venegas, Vanegas, or Banegas?
â2 A Teacher from Alcalá Joins the Society of Jesus
2 Miguel Venegas: the Master and the Jesuit
â1 The Days in Plasencia
â2 Miguel Venegas and the First Jesuit Performances in Portugal: at the Colégio de Jesus or Santo Antão, in Lisbon
â3 At the Colégio Real or Colégio das Artes in Coimbra
â4 In Rome (1563)
â5 In Paris (1564â66)
â6 A Long Pilgrimage: from Paris to Rome and from Rome to Ãvila and Alcalá
â7 Miguel Venegas, Teacher of Rhetoric in Salamanca
3 The Alcalá Legacy: from Grammar to the Bible, from Rhetoric to Theater
â1 Grammar as the Basis of All Studies: from Grammarian to Theologian
â2 From the Teaching of Languages to the Polyglot Bible
â3 The Specific Features of the Colegio Trilingüe de San Jerónimo
â4 The Complutensian School of Rhetoric
â5 The Christian Humanism of Alcalá and the Dramatic works of Venegas
â6 Conclusions
4 Miguel Venegas and the Dramatic Tradition in Spain
â1 The Biblical Theater of Miguel Venegas and the Dramatic Context in Spain
â2 The Biblical Plays of Miguel Venegas and Jesuit Theater in Spain
â3 The Plays of Miguel Venegas and University Humanist Theater in Spain
â4 New Forms of Drama in Non-school Theater
â5 The Latin Tragedy Saul furens (1555)
â6 Conclusions
5 School Theater in Coimbra during the Time of Miguel Venegas: the Colégio das Artes
â1 George Buchanan, Guillaume de Guérente, Marc-Antoine de Muret
â2 Student Theater at Coimbra University
â3 Theater in the Coimbra Colégio das Artes before the Jesuits: Diogo de Teive
â4 Performing Plautus or Seneca? The Testimony of LuÃs da Cruz
6 The Literary Works Miguel Venegas Produced in Portugal (1559â62)
â1 Saul Gelboeus (1559)
â2 Oration in Praise of King JohnIII (1559)
â3 In die praemiorum Dialogus (1561)
â4 Gratulatio and the Orations by the Four Arts (1561)
â5 Poems (1559â62)
â6 Oration in Praise of St. Elizabeth of Portugal (1562)
â7 Dialogus in praemia and Achabus (1562)
7 Drama sacrum et Latinum: the Tragoedia sacra ex 3° Lb. Regum Cap. 18-20-21 and the Beginning of a Cycle of Tragic Plays
â1 Tragoediae sacrae: the First Jesuit Tragedies in Rome and the Gradual Codification of a Dramatic Genre
ââ1.1 1565: Achabus at the Collegio Germanico
ââ1.2 1566: Saul at the Collegio Germanico
ââ1.3 1570: Drama sacrum et Latinum decretum est
â2 Venegasâs Tragedies and the Poetics of Sacred Tragedy
â3 The Beginning of a Cycle of Tragedies
â4 The Comedy Tobiah and the Tragedy Absalom
8 Optime more tragico canebantur: Francisco de Santa MarÃa and the Dramatic Choruses of Miguel Venegas, 1559â62
â1 Choruses in Jesuit Drama: Sine harmonia theatrum non delectat (Theater Does Not Delight without Music)
â2 Pero Diasâs Letter: âThe performance could not have been bettered in ancient Greece [â¦]â
â3 The Latin Version of the Same Letter: Optime more tragico canebantur (Sung in the Finest Tragic Style)
â4 The Choruses in MM 70: âThey are usually sung, accompanied by recorders at festivals in the main churchâ
Conclusion
Appendix : Miguel Venegas: Bibliography
Bibliography
Index
List of Abbreviations
Introduction
1 Miguel Venegas of Ãvila
â1 Venegas, Vanegas, or Banegas?
â2 A Teacher from Alcalá Joins the Society of Jesus
2 Miguel Venegas: the Master and the Jesuit
â1 The Days in Plasencia
â2 Miguel Venegas and the First Jesuit Performances in Portugal: at the Colégio de Jesus or Santo Antão, in Lisbon
â3 At the Colégio Real or Colégio das Artes in Coimbra
â4 In Rome (1563)
â5 In Paris (1564â66)
â6 A Long Pilgrimage: from Paris to Rome and from Rome to Ãvila and Alcalá
â7 Miguel Venegas, Teacher of Rhetoric in Salamanca
3 The Alcalá Legacy: from Grammar to the Bible, from Rhetoric to Theater
â1 Grammar as the Basis of All Studies: from Grammarian to Theologian
â2 From the Teaching of Languages to the Polyglot Bible
â3 The Specific Features of the Colegio Trilingüe de San Jerónimo
â4 The Complutensian School of Rhetoric
â5 The Christian Humanism of Alcalá and the Dramatic works of Venegas
â6 Conclusions
4 Miguel Venegas and the Dramatic Tradition in Spain
â1 The Biblical Theater of Miguel Venegas and the Dramatic Context in Spain
â2 The Biblical Plays of Miguel Venegas and Jesuit Theater in Spain
â3 The Plays of Miguel Venegas and University Humanist Theater in Spain
â4 New Forms of Drama in Non-school Theater
â5 The Latin Tragedy Saul furens (1555)
â6 Conclusions
5 School Theater in Coimbra during the Time of Miguel Venegas: the Colégio das Artes
â1 George Buchanan, Guillaume de Guérente, Marc-Antoine de Muret
â2 Student Theater at Coimbra University
â3 Theater in the Coimbra Colégio das Artes before the Jesuits: Diogo de Teive
â4 Performing Plautus or Seneca? The Testimony of LuÃs da Cruz
6 The Literary Works Miguel Venegas Produced in Portugal (1559â62)
â1 Saul Gelboeus (1559)
â2 Oration in Praise of King John
â3 In die praemiorum Dialogus (1561)
â4 Gratulatio and the Orations by the Four Arts (1561)
â5 Poems (1559â62)
â6 Oration in Praise of St. Elizabeth of Portugal (1562)
â7 Dialogus in praemia and Achabus (1562)
7 Drama sacrum et Latinum: the Tragoedia sacra ex 3° Lb. Regum Cap. 18-20-21 and the Beginning of a Cycle of Tragic Plays
â1 Tragoediae sacrae: the First Jesuit Tragedies in Rome and the Gradual Codification of a Dramatic Genre
ââ1.1 1565: Achabus at the Collegio Germanico
ââ1.2 1566: Saul at the Collegio Germanico
ââ1.3 1570: Drama sacrum et Latinum decretum est
â2 Venegasâs Tragedies and the Poetics of Sacred Tragedy
â3 The Beginning of a Cycle of Tragedies
â4 The Comedy Tobiah and the Tragedy Absalom
8 Optime more tragico canebantur: Francisco de Santa MarÃa and the Dramatic Choruses of Miguel Venegas, 1559â62
â1 Choruses in Jesuit Drama: Sine harmonia theatrum non delectat (Theater Does Not Delight without Music)
â2 Pero Diasâs Letter: âThe performance could not have been bettered in ancient Greece [â¦]â
â3 The Latin Version of the Same Letter: Optime more tragico canebantur (Sung in the Finest Tragic Style)
â4 The Choruses in MM 70: âThey are usually sung, accompanied by recorders at festivals in the main churchâ
Conclusion
Appendix : Miguel Venegas: Bibliography
Bibliography
Index
Readers interested in the history of the Society of Jesus, especially in its earliest days, as well as education, rhetoric and the performing arts, in particular theater and music.
