2 0 1 7 | v o l / 6 9 N o 2 111 THE RiCH AND CoMPLEX RELATioNSHiP that developed during the seventeenth century between the comedia nueva and the various forms of italian theater (theater, commedia dell’arte, opera) has been a steady object of study by several talented Italian Hispanists since the 1980s. Yet, this field has remained something of a specialist niche. this might be explained in part by the fact that, for several historical reasons, the literary Seicento was traditionally the poor relation of studies in italian literature, and its richness has generated little attention. also, until recently, as we shall see, italian stage works of the seventeenth century were not performed regularly, so there was little practical incentive to examine them as literature. in the last couple of decades, though, interest in Venetian opera of that period has grown rapidly, not only in academia—as attested by the now classic study by ellen Rosand, Opera in Seventeenth-Century Venice: The Creation of a Genre (U of California P, 1991)—but also in the opera houses of Europe and North america, in which the operas of a composer like Francesco cavalli have now become quite popular. in parallel, the discovery that many Venetian operas had spanish comedias as their sources has energized the research on the theater connections between spain and italy, yielding much new scholarship, predictably often produced by musicologists (e.g., anna tedesco, “teatro del siglo de oro y ópera italiana del seiscientos: un balance,” Criticón, vol. 116, 2012, pp. 113–35). the volume La comedia nueva e le scene italiane nel Seicento: trame, drammaturgie, contesti a confronto, edited by Fausta antonucci, a Hispanist, and anna tedesco, a musicologist, is a magnificent result of this new synergy between scholars of different disciplines. The book gathers the proceedings of a conference held in Rome in January 2015 and jointly organized by the volume’s editors. Proposing a very strong interdisciplinary vision for fausta Antonucci and Anna Tedesco, editors. La Comedia nueva e le scene italiane nel Seicento: trame, drammaturgie, contesti a confronto.

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La Comedia nueva e le Scene italiane nel Seicento：trame、drammaturgie、contesti a对抗版。作者：Fausta Antonucci 和 Anna Tedesco

2 0 1 7 | vol / 6 9 N o 2 111 十七世纪新喜剧与各种形式的意大利戏剧（戏剧、艺术喜剧、歌剧）之间发展起来的丰富而复杂的关系一直是几位才华横溢的人的稳定研究对象自 1980 年代以来的意大利西班牙裔。然而，这个领域仍然是一个专业领域。部分原因可能是由于一些历史原因，文学《塞森托》传统上是意大利文学研究的贫乏关系，其丰富性很少引起人们的注意。此外，直到最近，正如我们将看到的，17 世纪的意大利舞台作品并没有定期上演，因此几乎没有实际动机将它们作为文学作品来考察。然而，在过去的几十年里，对那个时期威尼斯歌剧的兴趣迅速增长，不仅在学术界——正如艾伦·罗桑德 (ellen Rosand) 现在的经典研究所证明的那样，《十七世纪威尼斯的歌剧：一种流派的创造》(U of California P, 1991)——而且在欧洲和北美的歌剧院中，像弗朗切斯科·卡瓦利这样的作曲家的歌剧现在已经非常流行。与此同时，许多威尼斯歌剧以西班牙喜剧为来源的发现激发了对西班牙和意大利之间戏剧联系的研究，产生了许多新的学术成果，可以预见的是，通常由音乐学家（例如，anna tedesco，“teatro del siglo de oro y ópera italiana del seiscientos：不平衡”，Criticón，第 116 卷，2012 年，第 113-35 页）。新喜剧新场景意大利语 nel Seicento 卷：trame、drammaturgie、contesti 和对战，由西班牙裔的 Fausta antonucci 和音乐学家 anna tedesco 共同编辑，这是不同学科学者之间这种新的协同作用的巨大成果。该书收集了 2015 年 1 月在罗马举行的会议记录，该会议由该卷的编辑联合组织。为编辑 fausta Antonucci 和 Anna Tedesco 提出了一个非常强大的跨学科愿景。La Comedia nueva e le Scene italiane nel Seicento：trame、drammaturgie、contesti a countero。