Academic journal article Bulletin of Hispanic Studies

'Callando Pasan Los Ligeros Años.': El Lope De Vega Joven Y El Teatro Antes De 1609

Academic journal article Bulletin of Hispanic Studies

'Callando Pasan Los Ligeros Años.': El Lope De Vega Joven Y El Teatro Antes De 1609

Article excerpt

HÉCTOR BRIOSO y ALEXANDRA CHERECHES (eds), 'Callando pasan los ligeros años...': El Lope de Vega joven y el teatro antes de 1609. Madrid: Liceus. 2012. 220 pp. ISBN 978-849714-033-1.

Brioso and Chereches bring together a worthy if occasionally uneven collection of essays, ranging from the historical and theoretical to the more analytical, around Lope's substantial early production. The book opens with an engaging piece by Alejandro García Reidy, who poses persuasive arguments to illustrate Lope's pre-eminent place within the dramatic scene at the turn of the seventeenth century. He traces the movement of Lope's plays around the peninsula as he corresponded with actors and his works were being sold on between companies, throwing light on how the dramatist's success was underpinned by his grasp of the importance of the relationship between playwright, companies and actors. Lope's understanding of the key ingredients for stage success is similarly at the core of Marcella Trambaioli's piece, which focuses on the evolution of his strategies of self-promotion, particularly the utilisation of Bernardo del Carpio's figure as a dramatic mask in the early part of his career.

María Rosa Alvarez Sellers considers the concerns and experiments which enabled the move from Renaissance tragedy to Spanishstyle Baroque tragicomedia as embodied in Lope's mature plays. She anchors the origins of Lope's post-1609 praxis in the work of the playwrights from the last decades of the sixteenth century, from Cervantes to Argensola, who recognized the need to combine tragic and comic elements in their plays. The more theoretical aspects of this quest for a new drama are explored by Jesús Cañas Murillo, whose well-documented piece focuses on the two contexts from which the Arte nuevo emerges: the workings of literary academies and the contemporary debates around the ideal dramatic model. Lope's treatise is persuasively read as a commissioned, unpolished academic discourse. Most interestingly, Cañas Murillo argues that the 'newness' noted in its title may not refer to an authorial desire to brand its content but, given that the work was published alongside the already circulated Rimas, simply to alert the reader to the additional material in the new edition of the poems. …

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