La recepción del teatro clásico español en Europa (siglos XVII-XVIII)
- Edited by:
- Fausta Antonucci,
- Salomé Vuelta García,
This volume, edited by two distinguished scholars of Golden Age theatre and devoted to the reception and translation of major early modern Spanish plays in modern times, continues a line of research begun nearly a decade ago with particular attention to the Italian, French, and German contexts. On this new occasion, the investigations extend to a broader scope of European circulation, encompassing—beyond Italy and France—Portugal, England, and the Netherlands. The essays collected here, entrusted to specialists in European literatures, musicologists, and theatre historians, contribute new data—some of considerable significance and originality—and explore previously understudied aspects, thereby substantially enriching our understanding of the subject. Tirso and Lope, Cicognini and Gozzi are only a few among the central figures of this endeavor, which aims to chart a map of the international dissemination of the Comedia nueva, supported as well by an ambitious project to catalogue the extant translations.
- Keywords:
- Spanish Golden Age Theater,
- Intertextuality,
- Early Modern European Theater,
- Translations,
- Performances,
- DOI: 10.36253/979-12-215-0857-4
- Series: Moderna/Comparata
- Scientific Board
- Language: Spanish
- Subjects: Spanish Literature
Roma Tre University, Italy - ORCID: 0000-0002-3135-5395
University of Florence, Italy - ORCID: 0000-0003-1541-5674
Salomé Vuelta García is Professor of Spanish Literature at the University of Florence and a specialist in literary relations between Spain and Italy in the early modern period, with particular focus on theatre. She has served as head of the Florentine research unit in national PRIN projects dedicated to Spanish theatre between 1570 and 1700. She is co-director of the series Studi linguistici e letterari tra Italia e mondo iberico in età moderna (Olschki).
Marco Presotto, Salomé Vuelta García
TespaTrad: un proyecto de catalogación de las traducciones del teatro áureo español- CC BY 4.0 |
- © Author(s)
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pp.19-27
La Comedia Nueva en Italia
Salomé Vuelta García
El modelo español del Don Gastone di Moncada de Giacinto Andrea Cicognini- CC BY 4.0 |
- © Author(s)
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pp.31-41
Simona Morando
Una questione di costanza. Ferrante Pallavicino nel Don Gastone di Moncada di Giacinto Andrea Cicognini- CC BY 4.0 |
- © Author(s)
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pp.43-55
Fausta Antonucci
Estrategias de adaptación del texto calderoniano en La vita è un sogno atribuida a Giacinto Andrea Cicognini- CC BY 4.0 |
- © Author(s)
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pp.57-69
Ilaria Resta
La comedia de secretario de Lope y Tirso en la escena italiana del XVII: refundiciones, combinaciones y engarces- CC BY 4.0 |
- © Author(s)
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pp.71-83
Nicola Badolato
«Un dramma per la musica … alla moda di Venezia»: L’Argia (1655) di Apolloni e Cesti tra Cicognini e il teatro spagnolo- CC BY 4.0 |
- © Author(s)
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pp.85-95
Elena E. Marcello
Trasvases ‘napolitanos’ de lo cómico español. Zabaleta, Solís, Moreto y la figura del donaire- CC BY 4.0 |
- © Author(s)
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pp.97-109
Renzo Guardenti
Capitani da commedia nell’iconografia teatrale tra Cinque e Settecento- CC BY 4.0 |
- © Author(s)
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pp.111-122
Paula Gregores Pereira
Lope nel primo Settecento: Echi ‘aurei’ nella produzione drammatica di Placido Adriani- CC BY 4.0 |
- © Author(s)
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pp.123-135
Francesco Cotticelli
Non solo classici. Metastasio spettatore (e lettore) di fonti spagnole?- CC BY 4.0 |
- © Author(s)
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pp.137-147
Javier Gutiérrez Carou
Eco y Narciso da Calderón a Carlo Gozzi: alla ricerca della fonte materiale- CC BY 4.0 |
- © Author(s)
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pp.149-163
Arianna Fiore
La donna innamorata da vero di Carlo Gozzi e la tradizione scenica del Pedro de Urdemalas- CC BY 4.0 |
- © Author(s)
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pp.165-176
La Comedia Nueva en Portugal y Francia
José Camões
Auge y caída de la invención española en Portugal (siglos XVI-XVIII)- CC BY 4.0 |
- © Author(s)
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pp.179-193
Isabel Muguruza Roca, Elena Muñoz Rodríguez
El teatro clásico español en Portugal al final de la Monarquía Dual: la dramaturgia de Jacinto Cordeiro- CC BY 4.0 |
- © Author(s)
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pp.195-206
Christophe Couderc
La recepción del impreso teatral español en Francia (siglo XVII)- CC BY 4.0 |
- © Author(s)
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pp.207-223
Enrica Zanin
L’impatto della comedia in Francia nel primo Seicento: nuovi personaggi, nuove storie, nuove pratiche drammatiche- CC BY 4.0 |
- © Author(s)
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pp.225-235
Monica Pavesio
La comedia in scena al teatro del Palais-Royal: adattamenti al femminile nella Parigi della seconda metà del Seicento- CC BY 4.0 |
- © Author(s)
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pp.237-247
Sara Pezzini
Peor está que estaba de Calderón y Don César Ursin de Lesage: un análisis comparativo- CC BY 4.0 |
- © Author(s)
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pp.249-261
La Comedia Nueva en Inglaterra y Holanda
Jesús Tronch Pérez
La difusión del teatro del Siglo de Oro en la Inglaterra de los Tudor y los Estuardo: lista inicial de obras para la base de datos EMOTHE de teatro europeo- CC BY 4.0 |
- © Author(s)
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pp.265-279
Frans Blom, Olga van Marion
Lope de Vega’s La hermosa Ester: a heroine on the Dutch stage- CC BY 4.0 |
- © Author(s)
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pp.281-292
- Publication Year: 2026
- Pages: 300
- eISBN: 979-12-215-0857-4
- Content License: CC BY 4.0
- © 2026 Author(s)
- Publication Year: 2026
- Pages: 300
- ISBN: 979-12-215-0856-7
- Content License: CC BY 4.0
- © 2026 Author(s)
Bibliographic Information
Book Title
La recepción del teatro clásico español en Europa (siglos XVII-XVIII)
Editors
Fausta Antonucci, Salomé Vuelta García
Peer Reviewed
Number of Pages
300
Publication Year
2026
Copyright Information
© 2026 Author(s)
Content License
Metadata License
Publisher Name
Firenze University Press
DOI
10.36253/979-12-215-0857-4
ISBN Print
979-12-215-0856-7
eISBN (pdf)
979-12-215-0857-4
Series Title
Moderna/Comparata
Series ISSN
2704-5641
Series E-ISSN
2704-565X
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