Abstract

Our purpose in this paper is to show the results we can obtain from either examining the scenari derived from Lope’s comedias in their totality, in the context of the collection to which they belong; or from comparing the strategies of re-elaboration in scenari of different collections; or from trying to perceive the generical and ideological preferences that show through each collection. For this, we study three scenari from three different collections, which refer to three different genres: the re-elaboration of Los embustes de Celauro , from the Museo Correr’s collection; the re-elaboration of Amor secreto hasta celos which belongs to the Casamarciano collection; the re-elaboration of El Marques de Mantua , from the Ciro Monarca collection.

Highlights

  • Our purpose in this paper is to show the results we can obtain from either examining the scenari derived from Lope’s comedias in their totality, in the context of the collection to which they belong; or from comparing the strategies of re-elaboration in scenari of different collections; or from trying to perceive the generical and ideological preferences that show through each collection

  • Ya que el texto que los actores recitaban en el tablado no se ha conservado, cualquier indagación no puede sino ceñirse al género teatral y a los aspectos estructurales y diegéticos de las piezas resumidas en el scenario, pues el carácter mismo de este guión no nos permite saber nada acerca de la cons­ trucción de los personajes, o del estilo y del registro lingüístico de las réplicas

  • Mucho queda toda­ vía por hacer: habría que seguir comparando entre sí los distintos scenari de una misma colección para comprobar parecidos y diferencias en las estrategias de ree­ laboración; habría que comparar las reescrituras de los scenari con las que debemos a la pluma de dramaturgos conocidos (el scenario L’amico infido se ciñe fielmente a la comedia de Pier Maria Cecchini, mientras al contrario la reelaboración de Los tres diamantes realizada por Celano, estudiada por Elena Marcello, presenta mar­ cadísimas diferencias con respecto a la del scenario de Ciro Monarca);18 habría que comparar scenari derivados de la misma obra pero elaborados en contextos distin­ tos y conservados en colecciones diferentes (es el caso de los que derivan de El acero de Madrid, de Las mocedades de Bernardo del Carpio, de Las pobrezas de Reinaldos)

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Summary

Introduction

Our purpose in this paper is to show the results we can obtain from either examining the scenari derived from Lope’s comedias in their totality, in the context of the collection to which they belong; or from comparing the strategies of re-elaboration in scenari of different collections; or from trying to perceive the generical and ideological preferences that show through each collection.

Results
Conclusion

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