Material intrahistory and stage practice of the nineteenth-century bourgeois theater. The testimony of the Theater Calderon de la Barca: Valladolid, 1863--1900

his doctoral thesis is conceived as a study of the assessment of the bourgeois competences in the material reality of the XIXth Spanish Theatre and its programmed materialization in the Theatre Calderon de la Barca in Valladolid, taken as a hypothetical reference of the contemporary theatrical reality in any middle provincial capital during the second half of the Nineteenth Century in Spain.;The study is organized according to a point of view focused on the constructive exegesis and the architectural condition of the building, its technical infrastructure and its management strategies to draw up the personality of the coliseum as a product of a precise socio-historical framework, under a specific set of technical circumstances and with certain aesthetic aspirations. Due to the rich and unprecedented documents preserved, it is, therefore, our intention to deal with the processes that triggered the project, the real or symbolic requirements for its realization, the consequences of its socio-cultural implications and the artistic impact involved in the initiative of building and running a theatre of such characteristics. Professional behaviours, means and uses related to the way the organization works internally are also analysed.;The understanding of the Nineteenth-Century bourgeois theatre, at least as far as the material aspects are concerned, cannot disregard a heritage of previous experiences that turned out to be deciding in its final configuration. That is why it is necessary to include a first part focused on the conditions imposed, by a certain conception of show, on the theatrical architecture and, at the same time, the assimilation of this code (architectural and performative) in Spain, taking into consideration the singular implications that could be traced in the city of Valladolid. The obvious dependency of the architectural and instrumental personality of the XIXth Century theatre towards its own history determines the need to carry out a diachronic reference to those situations that, sharing the same deceiving conception of show, fulfil those other artistic transformations which determine the organistic relationships between the theatrical event, the architectural object, and the systematization of its executive praxis.