In 15th-century theater, non-religious plays began to emerge, with plots based on traditional tales or amusing anecdotes. Moral plays, which used poetry, music, and comedy to educate the people, became popular. In addition, so-called minstrels were created, small groups of professional performers who worked in inn courtyards and at fairs.

Corpus Christi plays, as the mysteries were also known, since they were performed during this celebration, achieved great importance in Spain around this time, in places like Aragon and some areas of Levante. Among the notable mysteries, we can mention the Mystery of Elche. This commemorates the Assumption of the Virgin and has been performed continuously every year since this five-year period.

In the 15th century, miracles and morality plays also enjoyed their place in the spotlight. The most famous morality play in England dates from the end of the century and is called Everyman. It has a Spanish adaptation, which became known as The Dispute of Soul and Body.

Decisive events took place in Europe between the 15th and 16th centuries, which ultimately toppled the austere medieval structure, allowing the world to move forward. These events led individuals to develop a new worldview, one in which the focus shifted to humankind. It was a social process that had far-reaching repercussions on the arts, science, and culture in general, known as the Renaissance.

Numerous writers, first in Italy and later in other European countries, focused on the theater of the ancient Greeks and Romans. The Renaissance was a period in European history characterized by a renewed attraction to the classical Greco-Roman past, and especially to its art. There was an opening toward new horizons of knowledge, so the absolute influence that religion had had diminished.

This trend did not occur at the same time in all European countries, but rather began at different periods depending on the location. Nor did it occur suddenly; it was a slow process of change, reflecting the progress of the ideas and values ​​of the time. In the theater, attempts were made to recreate classical drama, but the theater nevertheless took on a completely new form with some aspects of classicism, as classical performances were not well known.

In Italy, a country that made enormous contributions to theater, it was very active. There we find the first examples of Renaissance theater. The first Renaissance plays were written in Latin and later came to be written in the vernacular; their plots were generally based on classical models. They were educational plays, conceived to be read, and could feature several actors.

The plays did not achieve any notoriety, as this new theatrical system was not a development of religious forms or popular or dramatic practices, but rather a strictly scholarly process. Despite the above, some plays achieved considerable success.

Verisimilitude, the appearance of truth, was the most significant Renaissance theatrical concept; it consisted of eliminating the improbable and the irrational in order to emphasize the logical, the ideal, the proper moral order, and a clear sense of decorum. Comedy and tragedy could not be combined; choruses and soliloquies were eliminated. Characters were designed as ideals rather than as individuals with their own particularities.

Among the rigorous rules established by Italian theorists and later adopted by numerous European countries, we can mention that a work could only contain one plot, the action had to take place within a twenty-four-hour period, and in a single location. Compliance with these rules, it was understood, guaranteed the quality of the work.

During this period, erudite comedy emerged, accessible only to cultured figures due to its complex construction. Pastoral drama also flourished, where music played a very important role, eventually evolving into a completely sung drama that would later give rise to opera. Pastoral drama expressed a rejection of city life and an abstraction of the countryside, with fantasy predominating.

In terms of architecture, attempts were made to recreate the Roman stage. The first Italian theaters were built in existing spaces, such as palaces and courtyards, which were rectangular in shape. The most significant development in the stage was the discovery of the technique of perspective. This made it possible to create the illusion of depth or space on a flat surface, making it possible to build sets that gave the impression of real places.

Symbolically exuberant scenes, known as intermezzi, began to be presented between each of the play’s five acts; this necessitated changes in the scenery. Over the following centuries, mechanical systems for changing them were devised.

During this period, actors’ associations were formed to perform farces. This was a short piece performed during the intervals between mysteries, which became independent of the mystery and became a genre of its own, with popular characters and accessible language.

Puppets had their heyday and also their fall. They had an advantage over actors, as the Church allowed a puppet to do or say things that a real actor was not allowed to do. They took part in religious ceremonies to illustrate the cult. Automata, or mechanical puppet theaters, became popular; they were mounted on large moving platforms and represented animals, angels, and shepherds, among others. Religious scenes were accompanied by organ music and commented on by a narrator. Soon, puppeteers began to be criticized and attacked.

Actors’ theater began to develop, with actors working in the courts; puppeteers were relegated to the roads and small towns; authors didn’t write for them, and puppets weren’t repaired due to a lack of resources. This led to the complete decline of puppet theater, although it never disappeared.

Juan del Encina (1469-1529) is considered the precursor of Spanish Renaissance theater. His dramatic eclogues include Cristino y Febea, Auto del Repelón, Plácida y Vitoriano, Zambardo y Cardonio, and Filomeno. He wrote and performed short plays in Italian and Spanish court circles, which earned him a great reputation.

At the end of the 15th century, Spanish theater began its development. This reflected the positive actions of the monarchs and the Catholic Church, and above all, the struggle of the people to achieve their freedom. Spanish theater was based on popular and national elements.

Bibliography: Freddy Artiles. The wonderful history of universal theater.