1 - Calderón and the Mojiganga

Summary

THE PLAYFUL SYMBOLISM OF THE MOJIGANGA

What is a mojiganga? Also called a fin de fiesta, which emphasises a constant function of the sub-genre, mojigangas would be performed at the end of either a comedia or auto sacramental. They can be defined as a small dramatic piece meant to complement the larger one, something different to mark the end or to bring closure to an event. The ‘fin’ aspect of the sub-genre thus remains clear, but ‘de fiesta’ is somewhat ambiguous, for it can be explained in two ways. ‘De fiesta’ can signify ‘pertaining to the celebration’, the celebration being the entire theatrical spectacle; but it can also refer to ‘a festive ending’, signalling an important aspect of all sub-genres within the teatro breve. The festive nature of the mojiganga is generally more pronounced than that of the entremés, and can be more easily described. The reasons for an increased air of festivity are manifold, and the overall function and history of the festivity are described in both Díez Borque’s and Buezo’s investigations. Because this chapter is not intended to be an overview of the mojiganga, but rather a demonstration of Calderón’s use of the form, our focus upon festivity and complementarity will necessarily be narrow and will unavoidably leave out many contexts mentioned by others. In general, however, it is important to keep in mind that happier, louder and more colourful pieces often served to complement the larger theatrical works that, by comparison, were more sombre. The mojiganga was often – though not always – a combination of pageantry and comic relief. The four examples chosen here will appear in order of increasing complexity and decreasing complementarity. That is to say, they decreasingly distinguish themselves from the comedia if one considers plot, characterisation, setting, dialogue and possibly sobriety to be the hallmarks of the ‘greater’ genre.

Los sitios de recreación del Rey is undoubtedly the least complicated piece in the Calderonian corpus, excluding his loas and bailes. The ‘plot’ consists of the following: various actors, with musical accompaniment, appear onstage, dressed as royal parks or gardens, and each tells how they will bring happiness to the new-born ‘Infante’ or royal ‘niño’.