In my dissertation, De la península Ibérica a Italia: concepción y práctica teatral de las primeras comedias castellanas , I analyze the formation of early modern Spanish comedia, in the context of Italo-Iberian cultural exchanges. My aim is to incorporate the most popular Spanish plays of the first half of the sixteenth century into the larger scenario in which they belong: one that we could name the "formation of the genre of comedy". Works such as Juan del Encina's Eclogues , La Celestina (The Spanish Bawd), and Torres Naharro's Tinellaria and Soldadesca are seen in this light as milestones in a complex thread of contributions leading to the development in the seventeenth century of a Spanish Golden Age "national theater", and specifically in Lope de Vega comedia nueva, as well as to the Italian commedia erudita. Such a reconstruction has long been neglected due to the constitution of the Hispanic and the Italian literary studies, and the asymmetry between the Spanish and the Italian literary traditions, especially regarding the primacy of Italian "comedies" and "authors" in the constitution of a history of "western comedy".
The formation of the genre of comedy it is seen in a new light within a textual and bibliographical history, grounded in the relationships among authors, printers, and readers. Cultural and merchant networks established between the Iberian and Italian Peninsulas helped to widespread not only books as commodities, but ideas and forms (genres) contained within them that would appeal to new audiences and readers. In my second chapter, I have reconstructed the possible ways in which these plays could have been represented, in contexts such as Alba de Tormes and Rome, by means of the analysis of internal text evidence (prompts, or configuration of the different scenes) and the extant records, both about its actual performances, and other contemporary spectacles. In order to make sense of the scarce available data, I have delved into architectural treatises (Vitruvio, Alberti, Peruzzi, Serlio), woodcuts, and extant Roman documents on contemporary theatrical performances. As a result of this reconstruction, Encina's latest plays, as well as Naharro's Soldadesca and Tinellaria, appear as deeply rooted in the avant-garde conception of the urban Roman scene, they share both techniques, and scene conceptions with avant-garde Italian authors. In my third chapter, I studied the function that comedies, such as Naharro's Tinellaria and Soldadesca, had at the time, insisting on the religious and political denunciations contained in them, as well as in their relationship with some discourses originating in the Lateran council. As a result of that, I have been able to delimit the circles, critical with the papacy of Julius II, in which these ideas originated, together with the political interests of those that voiced them.
|Advisor:||Di Camillo, Ottavio|
|Commitee:||Childers, William, Schwartz, Lia|
|School:||City University of New York|
|Department:||Hispanic & Luso Brazilian Literatures & Languages|
|School Location:||United States -- New York|
|Source:||DAI-A 75/02(E), Dissertation Abstracts International|
|Subjects:||Romance literature, European history, Theater History|
|Keywords:||Celestina, Comedy, Encina, Juan del, Italy, Naharro, Torres, Performance, Rome, Spain|
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