Broadly speaking, the cinematographic adaptations of the comedia nueva have not drawn the Hispanists’ attention. Why? Have there been any changes to that trend lately? This essay aims at tackling these issues. It suggests that the underdevelopment of this field of study is due to a strong philological orientation of most Spanish departments and the scattering of film materials. It also proposes that the increasing academic interest inSiglo de Oro’s presence on screen is linked to the recent release of TV series such asEl Ministerio del Tiempo, which has brought Lope and Cervantes close to a broader public. This essay concludes by suggesting some relevant research threads that are still to be explored, such as studying unfinished cinematographic adaptations and the analysis ofcomedia’s diffusion through TV.

Las reescrituras fílmicas de la comedia nueva: Un patrimonio desconocido y desatendido (hasta ahora)

In 1996, the movie El perro del hortelano, a film version of the homonymous comedy by Lope de Vega due to Pilar Miró, premiered in Spain. This essay aims to study how the rather vague and reduced space of the piece becomes a filmic space characterised by realism, as well as abundance. Attention is also paid to some omission of dialogue, very important to understand the character of Teodoro; they can be compensated by the silent image. Finally, the consequences of having shot the film in different parts of Portugal, easily recognisable to the Spanish spectator, are analysed.

El perro del hortelano: de espacio escénico a espacio cinematográfico

This work presents a first approach to the study of the changes of Lope de Vega’s titles of comedias, from the autographs to the printed text. The article studies several examples and it reveals how certain staging, typographical problems or market strategies modified Lope’s titles. The analysis of these changes and their causes will allow us to identify false epigraphs, restore original headings and even rescue from oblivion an unnoticed title.

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Los títulos de las comedias de Lope de Vega: oscilaciones y cambios de los autógrafos a la imprenta

Lope de Vega’s autographs allow us to approach the genesis of a play, analyse the cross-outs, changes and additions of the playwright and understand his modus operandi . Moreover, these documents also contain annotations and corrections of other agents involved in the Golden Age Theatre market that could substantially modify the text. On many occasions, the philological and codicological analysis only allows making hypotheses about what happened and does not offer reliable solutions to questions about the composition of theatrical text. Through this paper, we present the results of the analysis of several of Lope de Vega auto-graph manuscripts done with techniques and instruments related to photography and spectroscopy ranging from spectral photography to X-ray fluorescence. We shall demonstrate that the application of these techniques to the study of manuscripts from the Spanish Drama of the Golden Age will also make it possible to obtain information that is relevant to and valuable in delving into the development and circulation of a particular work, but also in gaining a much more complete understanding of the formation of Spanish classical theatre.

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Techniques and Instruments for Studying the Autograph Manuscripts of Lope de Vega

espanolDentro de los Dialogos de la pintura (1633) de Carducho, se incluyen una serie de poemas de sentido altamente contextual e intencion fuertemente polemica, que merecen examinarse tanto por la galeria de poetas en accion (todos del entorno de Lope) como por los argumentos artisticos manejados y su relacion directa con los grabados del libro, que presenta los textos como poesia xilografica, y, por lo tanto, doblemente artistica. EnglishWithin Carducho’s Painting dialogues (1633), there is a series of poems of highly contextual sense and strongly polemic intention, that deserves to be examined because of the gallery of poets in action (everyone from Lope’s circle), as well as for the artistic arguments used, and its direct relation with the engravings of the book, that presents the texts as xylographic poetry, and, therefore, doubly artistic.

/pdf/las-armas-de-la-poesia-los-poemas-de-los-dialogos-de-la-1b86m63tuz.pdf

Las armas de la poesía: los poemas de los Diálogos de la pintura de Carducho

A principios del siglo XVI, Jorge de Bustamante adapto al castellano las Metamorfosis de Ovidio, una traduccion que se acabaria convirtiendo en la version espanola mas difundida de la obra y en una de las fuentes de Lope de Vega. Solo una de sus multiples ediciones, la que se imprimio en Amberes en 1595, aparecio con una serie de grabados del artista aleman Virgil Solis que representaban los principales episodios de los mitos ovidianos. Este articulo pretende demostrar la influencia de estas ilustraciones de Solis en la composicion de las comedias mitologicas de Lope de Vega, para revelar asi la amplia vision pictorica del dramaturgo y su capacidad para crear nuevos recursos escenicos a partir de elementos iconograficos.

Los grabados de Virgil Solis: una fuente iconográfica para las comedias mitológicas de Lope de Vega

This article aims to delve into the process of composition of La buena guarda de Lope de Vega through the analysis of the hands and annotations that appear in the autograph manuscript, as well as the relation of this annotations with the two versions of comedy. The connection of one of these hands with the theatre company of Alonso Riquelme establishes that the director of this company took a leading role in the composition of the second version of the comedy.

/pdf/alonso-riquelme-y-la-reescritura-de-la-buena-guarda-de-lope-2alidtx9tf.pdf

Alonso Riquelme y la reescritura de La buena guarda de Lope de Vega

Cada aproximacion al texto de El perro del hortelano (1613) de Lope de Vega nos revela nuevos matices del protagonista masculino. La conocida figura de Teorodo, el secretario de la condesa Diana de Belflor, parece resistirse a cualquier taxonomia y se revela como un personaje con matices, dudas y contradicciones. La profundidad psicologica que le otorga el Fenix se vislumbra especialmente a traves de su ambicion y arribismo fluctuante, atributos que conforman su compleja personalidad. A partir del detallado analisis de los rasgos propios de la caracterizacion de Teorodo en la comedia lopesca y en la adaptacion cinematografica de Pilar Miro (1996), este articulo pretende poner de manifiesto de que manera y con que objetivos se remodelo sustancialmente la caracterizacion del secretario en la version de la directora madrilena.

https://dialnet.unirioja.es/descarga/articulo/6301226.pdf

Sònia Boadas

Papers

Los títulos de las comedias de Lope de Vega: oscilaciones y cambios de los autógrafos a la imprenta

Techniques and Instruments for Studying the Autograph Manuscripts of Lope de Vega

Los grabados de Virgil Solis: una fuente iconográfica para las comedias mitológicas de Lope de Vega

Alonso Riquelme y la reescritura de La buena guarda de Lope de Vega

“O morir en la porfía o ser conde de Belflor”: la ambición de Teorodo en Lope de Vega y en Pilar Miró