Unlike plays which echo Manichaeism by presenting the dichotomy of darkness and light, Vicente's work juxtaposes the two elements in order to illustrate the necessity of both. Christmas eve, one of his common motifs, is symbolic of his philosophical and religious views: the great darkness borders the divine glory of maternity, birth, forgiveness, serenity, and good will. The darkness is necessary to provide contrast with the light. Though his patriotism is apparent in works such as Exortação da Guerra ("Exhortation of War") and Auto da Fama ("Act of Fame"), or Cortes de Júpiter ("Courts of Jupiter"), it doesn't merely glorify the Portuguese Empire; instead, it is critical and ethically concerned, especially with the newly available vices which arose due to commerce with the East, that brought a sudden enrichment and disruption of the social fabric.
[5] His first known work, O Monólogo do vaqueiro ("Monologue of the Cowherd"), was written in Spanish and acted in the rooms of Maria of Aragon, wife of King Manuel, to celebrate the birth of Prince John (later John III of Portugal). The first performance, recited by the playwright himself, took place on the night of 8 June 1502, in the presence of the king; the queen; Leonor of Viseu, former Queen of Portugal and widow of John II; and Beatriz of Portugal, mother of the King. O Monólogo do vaqueiro contains several elements clearly inspired by the Adoration of the Shepherds which takes place in accounts of Christ's birth. Its staging included offerings of simple and rustic gifts, such as cheese, to the future king, from whom great achievements were expected.
The first world is the abstract, an ideal place of serenity and divine love that leads to inner peace, quietness, and "resplendent glory", according to his letter to John III of Portugal. The second world, which he portrays in his farces, is the physical: a false world, tired, without order or remedy, and lacking in strength. His satirical works depict the second world, in which human flaws are caricatured with little regard for actual or historical truth. Though critics call attention to these anachronisms and narrative inconsistencies, it's possible that Vicente considered these errors trivial in his portrayals of an already false and imperfect world. In contrast, his representations of the mythic, symbolic, and religious aspects of Christmas, such as the figure of the Virgin Mother, the infant Jesus, and Christmas eve, demonstrate a harmony and purity which is not present in his social commentary.
Religious plays[edit] Many of Vicente's plays were composed in order to celebrate religious festivals; these seventeen plays are called his "Obras de devoção" ("Devotional works"). [4] In these plays, also called "autos", or "acts", Vicente blended themes from Medieval morality plays with theatrical mumming and the liturgical dramas that were used in Corpus Christi festivals. One of his first devotional plays was Auto da Fé ("Act of Faith") in 1510. Like a morality play, it explores the journey of the Soul as it travels to the arms of the Mother Church. On its way, it is waylaid by the Devil and led to goodness by an Angel. His magnum opus is considered to be the Triologia das Barcas ("Trilogy of the Ships"), which consists of the three plays Auto da Barca do Inferno ("Act of the Ship of Hell"), written 1516; Auto da Barca do Purgatório ("Act of the Ship of Purgatory"), written in 1518; and Auto da Barca da Glória ("Auto of the Ship of Heaven"), written in 1519.
Here, a painting from the contemporaneous Vicente Gil (not to be confused with the playwright) Vicente's oeuvre spans the years between 1500 and 1536. Most of his plays were intended for performance at court, where he and the ladies and gentlemen of the court participated in their production. He wrote no fewer than forty-four pieces, ten of which are in Spanish, fourteen in Portuguese, and the remainder in mingled Portuguese and Spanish. His plays may be grouped into four main categories: acts, or devotional plays; comedies tragicomedies; and farces.
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He expresses himself in an unexpected, Dionysian way which does not always obey the aesthetic and artistic principles of balance. Vicente's works seem to show a spirit in conflict: his portrayals of the flaws of others appear almost rash and cruel, while his devotional and pastoral works, and those scenes in which he defends the oppressed, give an impression of tenderness, docility, and humaneness. In contrast, his works sometimes include a romanticism which combines eroticism and waggery with more erudite influences such as Petrarch. Philosophical elements[edit] The worlds presented in Vicente's works could be considered as representative of the duality of Platonic idealism.
Though he commonly referenced popular dialects, Vicente maintained the lyricism of his words. Positive aspects of Vicente's works include imagination, originality, and a proficiency in technical knowledge of theatre. Though spontaneous, sardonic, and emotive, his works maintain a directness and simplicity of dialogue which is lyrical without being florid or exaggerated.
[3] Vicente died in an unknown location, some[who? ] say Évora. The year of his death is commonly recorded as 1536, the year after which he ceased writing; no further reference to him is found in subsequent documents of the era. His place of burial is unknown. No surviving portraits of Gil Vicente remain. [citation needed] Career[edit] It is assumed that Vicente studied in Salamanca. Though he initially studied law, he soon abandoned it for literature.
Teófilo Braga"), which argued that Gil Vicente the writer and Gil Vicente the goldsmith were two different people. Teófilo Braga, who initially believed them to be the same man, later adopted a different opinion after reading a study by Sanches de Baena which showed the different genealogy of two individuals named Gil Vicente. However, Brito Rebelo demonstrated the historical inconsistency of these two genealogies by the use of documents from the Portuguese national archive. The masterpiece of Vicente the goldsmith's art was the monstrance of Belém made for the Jerónimos Monastery in 1506, which was crafted from the first gold exported from Mozambique. The design of this monstrance resembles the decorations of the southern portal of the church Santa Maria de Belém of this monastery.
Gil Vicente - WikipediaThis article is about the Portuguese playwright. For the football team, see Gil Vicente F. C. Gil VicenteStatue atop the pediment of D. Maria II National TheatreBornc. 1465possibly Guimarães, PortugalDied1536 (aged 70–71)possibly Évora, PortugalOccupationPlaywright, goldsmith (disputed)NationalityPortugueseAlma materUniversity of Salamanca (assumed)SubjectReligion, satiresLiterary movementRenaissance humanism Portuguese RenaissanceNotable worksA Trilogia das Barcas, Farsa de Inês Pereira, Monólogo do Vaqueiro Gil Vicente (Portuguese: [ˈʒiɫ viˈsẽtɨ]; c.
The humanism of Erasmus and of Renaissance Italy also impacted his work. [1] Luís Vicente, his son, classified Vicente's sacred plays as acts and mysteries and his secular plays as farces, comedies, and tragicomedies. His plays may be further divided into pastoral acts, religious allegories, biblical narratives, episodical farces, and narrative acts. However, many of his works blend both secular and sacred elements; for example, Triologia das Barcas ("Trilogy of the Ships") contains both farcical and religious motifs. Vicente is one of the most important satirical authors of the Portuguese language.
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1465 – c. 1536), called the Trobadour, was a Portuguese playwright and poet who acted in and directed his own plays. Considered the chief dramatist of Portugal he is sometimes called the "Portuguese Plautus, " often referred to as the "Father of Portuguese drama" and as one of Western literature's greatest playwrights. Also noted as a lyric poet, Vicente worked in Spanish as much as he worked in Portuguese and is thus, with Juan del Encina, considered joint-father of Spanish drama. Vicente was attached to the courts of the Portuguese kings Manuel I and John III.
Like Spain's classical dramas, his plays are often in verse form. In addition, they feature his own musical compositions and well as popular lyrics and melodies of the time. [4] He was also a noted lyric poet in both Portuguese and Spanish, [6] as represented by several poems in the Cancioneiro of Garcia de Resende. [4] He wrote a number of vilancetes and cantigas ("songs") which were influenced by a palatial style and the themes of the troubadours.
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His satires were severely critical, anticipating Jean-Baptiste de Santeul's later epigram (often mistakenly attributed to Horace or Molière), castigat ridendo mores ("[Comedy] criticises customs through humour"). He portrayed Portuguese society of the 16th century with perceptiveness and insight, using many characters inspired by Portuguese social stereotypes of his time. In addition, rustic characters, such as sailors, gypsies, and peasants, are common, as are more fantastical characters such as fairies and demons.
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