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40-515: Degollado Theater was constructed during Mexico's 1800s theatrical movement. There was a high demand for a great theater in Guadalajara that displayed the cultural arts of the city. In response to the demand, on October 1, 1855, Antonio Pérez Verdía proposed the construction of Alarcón Theater (after the classic dramatist Juan Ruiz de Alarcón ) to the current governor of the time, Santos Degollado . On December 12 of that same year, Degollado signed

80-478: A companion-piece since both plays deal with mendacity. His plays can be divided into at least three distinct categories: social comedies, political dramas and plays that dramatize astrology, magic and other occult practices. Among the political plays, El dueño de las estrellas stands out as a stunning tragedy, dealing with Lycurgus , the Spartan lawgiver. Although the oracle had predicted that he would either kill

120-423: A companion-piece since both plays deal with mendacity. His plays can be divided into at least three distinct categories: social comedies, political dramas and plays that dramatize astrology, magic and other occult practices. Among the political plays, El dueño de las estrellas stands out as a stunning tragedy, dealing with Lycurgus , the Spartan lawgiver. Although the oracle had predicted that he would either kill

160-451: A crystal lamp on the theater's vault. Fifty years later, architect Ignacio Diaz Morales was in charge of a complete restoration of the building where sculptures by Benito Castañeda replaced Venetian mosaics. In May 2001, a chamber hall that can hold 200 people was added to the inside of the building. With fewer renovations than the interior, the exterior of the building still retains its artistic beauty. Between 1953 and 1959 Montenegro painted

200-435: A king or be killed by one, when faced with the dilemma he commits suicide thus overcoming the power of the stars. A second political play, La amistad castigada , is unusual because the king is deposed at the end. The magic plays include astonishing instances of the occult at a time when such practices were frowned upon. See, for example, La cueva de Salamanca and La prueba de las promesas . Quien mal anda, mal acaba may be

240-435: A king or be killed by one, when faced with the dilemma he commits suicide thus overcoming the power of the stars. A second political play, La amistad castigada , is unusual because the king is deposed at the end. The magic plays include astonishing instances of the occult at a time when such practices were frowned upon. See, for example, La cueva de Salamanca and La prueba de las promesas . Quien mal anda, mal acaba may be

280-640: A permanent appointment to the Royal Council of the Indies (1626) — rather like an appeals court for Spanish colonies in America. Apparently, when political success came, he all but stopped his literary efforts—although he did have two volumes of his plays published (in 1628 and 1634), perhaps because some of them had been pirated and previously published with false attributions to his theatrical rival Félix Lope de Vega . After thirteen years of legal service to

320-399: Is also the author of a play written in collaboration, Algunas hazañas de las muchas de don García Hurtado de Mendoza (1622). The most famous of his plays is La verdad sospechosa , (published in 1634). The first great French comedy in modern French literature, Corneille 's Le menteur ( The Liar ), was confessedly modeled after it. Las paredes oyen ( Walls have Ears ) is often seen as

360-399: Is also the author of a play written in collaboration, Algunas hazañas de las muchas de don García Hurtado de Mendoza (1622). The most famous of his plays is La verdad sospechosa , (published in 1634). The first great French comedy in modern French literature, Corneille 's Le menteur ( The Liar ), was confessedly modeled after it. Las paredes oyen ( Walls have Ears ) is often seen as

400-666: Is considered a masterpiece of Latin American Baroque theater. Juan Ruiz de Alarcón was born in Real de Taxco, later named Taxco de Alarcón in his honour. His family was of old Asturian nobility. The name Alarcón had been given to his ancestor Ferren Martínez de Ceballos by Alfonso VIII of Castile after he had successfully driven the Moors from the fortress of Alarcón near Cuenca in 1177. Juán Ruiz de Alarcón's maternal grandparents Hernando and María de Mendoza were among

440-415: Is none whose work is of such even excellence." He is the author of approximately twenty-five plays. Twenty of them were published by the playwright in two volumes. The first, from 1628, contains eight plays ( Los favores del mundo , La industria y la suerte , Las paredes oyen , El semejante a sí mismo , La cueva de Salamanca , Mudarse por mejorarse , Todo es ventura and El desdichado en fingir ); and

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480-415: Is none whose work is of such even excellence." He is the author of approximately twenty-five plays. Twenty of them were published by the playwright in two volumes. The first, from 1628, contains eight plays ( Los favores del mundo , La industria y la suerte , Las paredes oyen , El semejante a sí mismo , La cueva de Salamanca , Mudarse por mejorarse , Todo es ventura and El desdichado en fingir ); and

520-484: The Divine Comedy . On 1877, Fermín Riestra was ordered to continue with the construction of the building; a three-year process on which a gilded eagle holding a Mexican flag on its talons and a chain on its beak was placed on the center of the inner arch of the building. Within the three year construction, Felipe Castro painted the murals Time and Hours and The Fame on the proscenium arch. Between 1880 and 1890,

560-515: The Moors from the fortress of Alarcón near Cuenca in 1177. Juán Ruiz de Alarcón's maternal grandparents Hernando and María de Mendoza were among the first Spaniards to arrive in Mexico in 1535, when they established themselves in Taxco. Their daughter Leonor de Mendoza married Pedro Ruiz de Alarcón who was described as an hidalgo . Juan Ruiz de Alarcón had four brothers: Pedro Ruiz de Alarcón, who

600-600: The University of Salamanca . He continued his studies towards a Licentiate in Law—roughly equivalent to a modern master's degree—which he finished in 1605, without, however, taking the degree. Instead, he practiced law for a while in Seville, then in 1608 went back to Mexico, and in 1609 received the licentiate from the University of Mexico . He completed his studies for his doctorate fairly soon thereafter, but never received

640-493: The building's exterior facing Plaza Fundadores . Completed by Rafael Zamarripa , the high bronze relief measures 3 m high x 21 m long and depicts the founders of Guadalajara. Juan Ruiz de Alarc%C3%B3n Juan Ruiz de Alarcón (c. 1581 – 4 August 1639) was a New Spanish writer of the Golden Age who cultivated different variants of dramaturgy . His works include the comedy La verdad sospechosa ( es ), which

680-439: The conservative catholic society in which he later lived held the prejudice that Judas Iscariot was a redhead. Because of this, his critics often ridiculed his appearance rather than his works. He went to Spain in 1600, where he studied law at the University of Salamanca . He continued his studies towards a Licentiate in Law—roughly equivalent to a modern master's degree—which he finished in 1605, without, however, taking

720-545: The crown, he died at Madrid in 1639. Alarcón was the least prolific of all the great dramatists of Spain and is one of the very few Spanish-Americans among the great dramatists of the Siglo de Oro . He wrote less than did others, and many of his works circulated under their names. He took pains to mull over his plays and polish both their versification and their general composition. Fitzmaurice-Kelly said of Alarcón: "There are Spanish dramatists greater than Ruiz de Alarcón: there

760-494: The crown, he died at Madrid in 1639. Alarcón was the least prolific of all the great dramatists of Spain and is one of the very few Spanish-Americans among the great dramatists of the Siglo de Oro . He wrote less than did others, and many of his works circulated under their names. He took pains to mull over his plays and polish both their versification and their general composition. Fitzmaurice-Kelly said of Alarcón: "There are Spanish dramatists greater than Ruiz de Alarcón: there

800-488: The degree, in all likelihood because of the rather substantial costs attached to the ceremony. He worked as a legal adviser for a while, as an advocate, and as an interim investigating judge, all the while trying repeatedly and unsuccessfully to gain a teaching chair at the University. Returning to Spain about 1611, he entered the household of the marquis de Salinas, and began a frustrating life of job-seeking at court. At

840-447: The degree. Instead, he practiced law for a while in Seville, then in 1608 went back to Mexico, and in 1609 received the licentiate from the University of Mexico . He completed his studies for his doctorate fairly soon thereafter, but never received the degree, in all likelihood because of the rather substantial costs attached to the ceremony. He worked as a legal adviser for a while, as an advocate, and as an interim investigating judge, all

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880-462: The first Spaniards to arrive in Mexico in 1535, when they established themselves in Taxco. Their daughter Leonor de Mendoza married Pedro Ruiz de Alarcón who was described as an hidalgo . Juan Ruiz de Alarcón had four brothers: Pedro Ruiz de Alarcón, who was rector at the College of Saint John Lateran , Hernando Ruiz de Alarcón who was a priest and is known for having written a treatise documenting

920-551: The first Spanish play that dramatizes a pact with the devil. Indeed, even in social comedies such as Las paredes oyen we can encounter extensive astrological allusions. Embittered by his deformity, Alarcón was constantly engaged in personal quarrels with his rivals; but his attitude in these polemics is always dignified, and his crushing retort to Lope de Vega in Los pechos privilegiados is an unsurpassed example of cold, scornful invective. More than any other Spanish dramatist, Alarcón

960-503: The first Spanish play that dramatizes a pact with the devil. Indeed, even in social comedies such as Las paredes oyen we can encounter extensive astrological allusions. Embittered by his deformity, Alarcón was constantly engaged in personal quarrels with his rivals; but his attitude in these polemics is always dignified, and his crushing retort to Lope de Vega in Los pechos privilegiados is an unsurpassed example of cold, scornful invective. More than any other Spanish dramatist, Alarcón

1000-476: The interior of the building and its symbolic mosaic on the exterior. Several measurements of the Theater: Most of the theater's renovations were made to improve the interior design by adding paintings and giving it its current red and golden color. Before the theater's first inauguration, Gerardo Suárez and Carlos Villaseñor decorated the theater with a mural representing Dante Alighieri 's fourth canto in

1040-401: The mosaic of Apollo and the nine muses on the pediment of the theater. The portico supporting the pediment consists of 16 Corinthian columns. When Ignacio Diaz was in charge of the renovation of the theater, he ordered the engraving of the phrase "May we never hear a hint of discord" along Montenegro's mosaic on the main entrance. The Friso de los Fundadores de Guadalajara is installed on

1080-611: The non-Christian religious practices of the Nahua Indians of central Mexico, Gaspar and García, about whom little is known. Juan Ruiz de Alarcón was born about 1581 at Real de Taxco, New Spain, where his father was superintendent of mines; his mother was descended from one of Spain's most illustrious families, the Mendozas. He was small of stature and suffered from hunchbackedness . Besides, his red haired complexion made him an occasional object of scorn, since some sectors of

1120-561: The official decree to build the structure, and in March, 1856, Degollado set the first cornerstone of the building. In April 1856, Jacobo Gálvez was appointed to lead the initial construction of the theater. Due to the conflicts of Mexican liberals and conservatives in Mexico, and a change of government during the Second Mexican Empire , the completion of the project was slow. On November 12, 1861, Governor Pedro Ogazón changed

1160-533: The proposed name of the project from the Alarcón Theater to the Degollado Theater, after ex-governor and general Santos Degollado (killed in a battle on June 16, 1861). This change of name was not acknowledged at the time of inauguration, but was adopted on December 18, 1866, when Mexican liberal troops regained control of the plaza where the theater is located. The theater's first inauguration

1200-454: The same time, purely as a way of making money apparently, he threw himself into the heady literary and theatrical life of the capital, eventually having a number of his plays performed. His first play, El semejante de sí mismo was unsuccessful, yet it attracted attention to him. By some, he was ridiculed and criticized; from others he obtained support. For ten years, he pursued this double life, until he finally secured first an interim and then

1240-537: The second volume from 1634 consists of twelve plays ( Los empeños de un engaño , El dueño de las estrellas , La amistad castigada , La manganilla de Melilla , Ganar amigos , La verdad sospechosa , El anticristo , El tejedor de Segovia , La prueba de las promesas , Los pechos privilegiados , La crueldad por el honor and El examen de maridos ). Other plays were published in collections. These include: Quien mal anda mal acaba , No hay mal que por bien no venga and La culpa busca la pena, y el agravio la venganza . He

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1280-537: The second volume from 1634 consists of twelve plays ( Los empeños de un engaño , El dueño de las estrellas , La amistad castigada , La manganilla de Melilla , Ganar amigos , La verdad sospechosa , El anticristo , El tejedor de Segovia , La prueba de las promesas , Los pechos privilegiados , La crueldad por el honor and El examen de maridos ). Other plays were published in collections. These include: Quien mal anda mal acaba , No hay mal que por bien no venga and La culpa busca la pena, y el agravio la venganza . He

1320-401: The stucco on the concert hall was completed and a golden color was added to the interior walls. By 1893, tiles were removed from the stage, due to the lack of support they provided for the structure, and were replaced by a metal arch on 1905. Between 1909 and 1910 artist Roberto Montenegro focused on the reconstruction and decoration of the interior of the building which included the addition of

1360-461: The while trying repeatedly and unsuccessfully to gain a teaching chair at the University. Returning to Spain about 1611, he entered the household of the marquis de Salinas, and began a frustrating life of job-seeking at court. At the same time, purely as a way of making money apparently, he threw himself into the heady literary and theatrical life of the capital, eventually having a number of his plays performed. His first play, El semejante de sí mismo

1400-512: Was a New Spanish writer of the Golden Age who cultivated different variants of dramaturgy . His works include the comedy La verdad sospechosa ( es ), which is considered a masterpiece of Latin American Baroque theater. Juan Ruiz de Alarcón was born in Real de Taxco, later named Taxco de Alarcón in his honour. His family was of old Asturian nobility. The name Alarcón had been given to his ancestor Ferren Martínez de Ceballos by Alfonso VIII of Castile after he had successfully driven

1440-493: Was descended from one of Spain's most illustrious families, the Mendozas. He was small of stature and suffered from hunchbackedness . Besides, his red haired complexion made him an occasional object of scorn, since some sectors of the conservative catholic society in which he later lived held the prejudice that Judas Iscariot was a redhead. Because of this, his critics often ridiculed his appearance rather than his works. He went to Spain in 1600, where he studied law at

1480-439: Was on September 13, 1866, with the opera " Lucia di Lammermoor ", the title role being performed by Ángela Peralta , opera soprano noted as the "Mexican Nightingale". The theater had not yet been completed. Subsequently, there were many renovations and four more inaugurations: October 30, 1880; September 15, 1910; June 28, 1941; and September 8, 1964. Degollado Theater is famous for its beautiful paintings along its golden walls on

1520-570: Was preoccupied with ethical aims, and his gift of dramatic presentation is as brilliant as his dialogue is natural and vivacious. It has been alleged that his non-Spanish origin is noticeable in his plays, and there is some foundation for the observation; but his workmanship is exceptionally conscientious, and in El Tejedor de Segovia he produced a masterpiece of national art, national sentiment and national expression. La verdad sospechosa Juan Ruiz de Alarcón (c. 1581 – 4 August 1639)

1560-406: Was rector at the College of Saint John Lateran , Hernando Ruiz de Alarcón who was a priest and is known for having written a treatise documenting the non-Christian religious practices of the Nahua Indians of central Mexico, Gaspar and García, about whom little is known. Juan Ruiz de Alarcón was born about 1581 at Real de Taxco, New Spain, where his father was superintendent of mines; his mother

1600-695: Was unsuccessful, yet it attracted attention to him. By some, he was ridiculed and criticized; from others he obtained support. For ten years, he pursued this double life, until he finally secured first an interim and then a permanent appointment to the Royal Council of the Indies (1626) — rather like an appeals court for Spanish colonies in America. Apparently, when political success came, he all but stopped his literary efforts—although he did have two volumes of his plays published (in 1628 and 1634), perhaps because some of them had been pirated and previously published with false attributions to his theatrical rival Félix Lope de Vega . After thirteen years of legal service to

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