In The Spanish Golden Age: Crash Course Theatre #19, Mike Rugnetta mentioned how the most active genre (in this time period) were called Autos Sacramentales. [There is even an overlap with the English Morality plays, in terms of elements.] These plays are to focus on the mystery of the Eucharist. "The wine of heaven in a cup of gold", seemed to connect that [bread and] wine are the [body and] blood of Jesus Christ. I ask myself, since Autos Sacramentales consisted of elements from England's Morality/Mystery plays, "How were Autos Sacramentales similar or different from Morality/Mystery plays?"

Furthermore, Mike Rugnetta mentioned how Pedro Calderon de la Barca's plays were the only Autos Sacramentales to be performed in Madrid. As well as, when he (Pedro Calderon) died, so kind of did the Golden Age of Spanish theatre. My question is, "What did his stories contain that made him so popular?" "Why did the Golden Age of Spanish theatre kind of die when Pedro Calderon passed away?"

Usually, in a revenge tragedy, a hero suffers (typically the murder of someone they love), the plot focuses on the characters' desire for revenge. When the play ends, the hero succeeds their desire; however, they also die. This reminded me of the first popular revenge tragedy, mentioned in our video on Tuesday. The Spanish Tragedy by Thomas Kyd. Which was written before Hamlet. Hamlet seems to borrow some elements from Kyd's play. For example, a vengeful ghost, a play within a play, and how the hero goes bonkers.

(This is not my annotation for a grading, this is just something I noticed)! While watching Nostrils, Harmony, with the Universe and Ancient Sanskrit Theatre: Crash Course Theater #7, Mike Rugnetta mentioned about berserk elephants. This caught my attention because I love elephants, and I’m curious as to why elephants are common for Indian culture. I just did a quick search and found that elephants are a sacred animal to the Hindu religion. There is even an elephant-headed Hindu god named Ganesha (god of luck, protection and fortune).

(From Nostrils, Harmony with the Universe, and Ancient Sanskrit Theater: Crash Course Theater #7). Mike Rugnetta mentions that, “very exciting things happen in these plays— like kidnappings and battles and berserk elephants—but those things mostly happen offstage. Onstage, we get messengers’ reports and dialogue and how people are dealing with [specific situation]...” (Time on video is at 6:21). The decision towards Chārudatta seemed to be decided “offstage”. Based on the fact that we did not read the conversation of the punishment beforehand. Suddenly the play returns (“onstage”) with the report from the Headsmen.

I found these lines interesting, because of the wording and how I imagine Lysistrata saying this. Artemis, is a Greek goddess of (virginity), hunt, wilderness, wild animals, moon and chastity. Furthermore, Artemis, is praised to be the primary goddess for childbirth and midwifery.

I remember how we discussed about women, in Ancient Greece, not being respected. Women’s “duty” was to be this pleasurable object and to stay at home. As we see in this play, the roles are reversed and women take control and speak their minds. Women, in this play, were breaking this mold of expectations from men/society.

In reference to the war (431-401 B.C.) between Athens and Sparta. Many Greeks believed that this war was going to ruin Greece. So, in Aristophanes’ play, Lysistrata suggested, to other women, to force peace by refraining from any sexual activities with men. I think Aristophanes did this as a way to envision/fantasize about peace in the real world.