Evolución de los criterios ecdóticos en las ediciones modernas del teatro de Shakespeare

Editorial criteria in critical editions of Shakespeare’s plays have evolved from a 18th-century arbitrary eclecticism into one restricted by the editor’s knowledge of the nature and transmission of the early texts, a knowledge developed by the 20th-century New Bibliography that specially informs paleographical and bibliographical criteria. Roughly from the 21st century, these criteria have evolved into a conservatism influenced by a social view of texts, which stands on a par with the primordial criterion of reconstructing the text intended by the author. This textualism is nourished by a skepticism about the certainty the New Bibliography inspired in what editors know about the texts’ transmission.

Extravagancias textuales de una suelta de La fingida Arcadia, comedia de tres ingenios

La fingida Arcadia’s textual transmission, play of multiple authorship, includes a suelta conserved just in Bayerische Staatsbibliothek (S3), that corresponds to a text very far from the rest of the tradition. The suelta maintains unaltered the plot of the original play, even if it modifies all over the dialogues, cuts or lengthens whole fragments, intensifies the courtisan features and, most of all, elaborates especially the burlesque motive of the mondongas. At the same time, the author omits all those elements related to the practice of multiple authorship in order to proclaim, indirectly, to be the author of a different play, announced by the modified title.

Textos y diálogos en diálogo: Barlaán y Josafat, de Lope

In this article I will study the hagiographic play Barlaán y Josafat, by Lope de Vega, from two different perspectives. On the one hand, I will analyze the dialogue between the two texts, as the comedia has a version transmitted by an autograph manuscript by Lope and another one transmitted through printed books and sueltas. On the other hand, I will focus my attention on the dialogues in the play, since they are useful to better understand the work of composition and preparation of the copy of the comedia by the playwright, as well as the company’s work on the text.

Edición crítica, problemas textuales y de autoría: métrica y ortología en Lope de Vega

Through examples taken from comedies recently attributed to Lope de Vega, this article deals with certain problems that should be considered when studying or editing plays of doubtful authorship. The analysis focuses on methods traditionally used to resolve problematic attributions, such as the study of versification, orthoepy and syllable counting. The conclusion argues that all of these tools —as well as the landmark works by Morley and Bruerton or W. Poesse — still offer great surprises and challenges for researchers. Thus, the development of new methods, such as stylometry, should not impel us to dismiss the classic approaches. Quite the opposite: old and new methods inform one another.

El licenciado Francisco de Rojas, enmendador barroco de manuscritos teatrales

This paper focuses on the figure of the graduate Francisco de Rojas, a minor playwright from the first half of the seventeenth century who is better known for copying several theatrical manuscripts and, above all, for the presence of his handwriting in dozens of other manuscripts. The objectives of this paper are to contextualize his activity as a copyist, to systematize the nature of his interventions in the dialogues of the plays, and to point out the—often silent—influence that Rojas’ amendments have had in several editions of early modern Spanish plays for over a century.

La edición de textos para las compañías hoy: algunos ejemplos del trabajo de la Compañía Nacional de Teatro Clásico

The debate about to what extent the comedia nueva can and should be modified for the contemporary scene has always been very lively. In order to understand the different positions about this issue, I study the work of the Compañía Nacional de Teatro Clásico by analyzing four versions of two different comedies, El perro del hortelano and El burlador de Sevilla, with the aim of finding out how the different adapters have worked and the way they have proceeded over time.