Abstract
Despite a substantial body of research, generic issues in El caballero de Olmedo continue to be problematic. The present study proposes to outline considerations that help understand more clearly what is tragic in Lope's "tragicomedy" by refocusing the play from a synchronic perspective, that is, by framing El caballero de Olmedo within the theory and practice of modern tragedy, as manifested in works by Ibsen, O'Casey, Synge, Chekhov, Brecht, and, especially, García Lorca. El caballero de Olmedo was the last work that Lorca adapted for La Barraca. His script and notes for that production have been lost. Nevertheless, it is appropriate to probe what Lorca assimilated into his own dramaturgical system when he adapted Lope's play, because within El caballero de Olmedo Lorca found deep structures and a decidedly modern tragic vision that were to be essential to his Andalusian trilogy.
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