Maria M. Delgado and David T. Gies, editors. A History of Theatre in Spain. CAMBRiDGE UP 2012 (PAPERBACK EDiTiON 2015). 558 pp.THIS NEW CONTRIBUTION TO HISPANISM by Maria M. Delgado and David T. Gies is an unconventional literary history. Because it is a compendium of articles by specialists, A History of Theatre in Spain avoids some of the major pitfalls that plague other literary histories. Single-authored chronicles inevitably offer a limited perspective, as no one scholar can be an expert in every aspect or period of a national literature. Even highly qualified experts in one area-say, the Spanish comedia-may be deficient in others, such as the zarzuela or contemporary feminist theater. However, the editors of A History of Theatre in Spain offer an overview of Spanish theater from the Middle Ages to the twenty-first century provided by over two dozen eminent scholars of diverse backgrounds, areas of expertise, and approaches. The result is a history of Spanish theater that is panoramic, profound, and multifaceted.The editors' insightful Introduction poses some questions usually ignored by scholars. The most basic is: What is Spanish theater? The tendency of critics, historians, and politicians to equate Spain with Madrid or Castile has led scholars to overlook the existence of cultures that have flourished in the Iberian Peninsula in languages other than Spanish, for example, Arabic, Basque, Catalan, Navarro-Aragonese. Furthermore, the primacy given to Spain's Golden Age has led scholars to neglect the rich theatrical traditions of Spain's eighteenth and nineteenth centuries.Theatrical culture is much broader than a selected group of canonical works, argue the editors. Performance techniques, audience tastes, dramatic space, and myriad other elements all come into play. Rather than assigning hegemony to either text or performance-related issues, the editors have sought to view theater in its totality, including script, stage architecture, kinetics, the role of publishers, and paralinguistic material. Although their focus is on peninsular Spain, they have sought to expand our notion of Spanish theater by exploring issues of colonialism and the broad influence of Spain's theater abroad, both in Latin America and Europe. The editors' frankly revisionist approach calls into questions conventional assumptions about what constitutes a national theater and the parameters of Spain's theater.In "The Challenges of Historiography: The Theatre in Medieval Spain," Angel Gomez Moreno challenges the long-accepted 1958 statement by Fernando Lazaro Carreter that the history of theater in Medieval Spain is "the history of an absence" (18). For decades it has been assumed that almost no evidence exists of a theatrical tradition between the Auto de los Reyes Magos, composed at the end of the twelfth century, and the plays of Juan del Encina, the first of which appeared in the Cancionero de 1496. However, Gomez Moreno argues that records attesting to payments for scenery and costumes and references to paratheatrical productions do survive. Furthermore, scholars are now recovering some missing theatrical texts or finding references to them in other works. To gain an understanding of the breadth of theatrical activity in medieval Iberia, argues Gomez Moreno, we need to expand our horizons. Gomez Moreno examines the liturgical theater of Toledo and elsewhere, as well as momos and other medieval theatrical forms in Portugal. He concludes, "Modern scholarship has allowed us to perceive, albeit in indirect ways, the existence of a vigorous tradition of performance during the Middle Ages in Spain" (35).The following four chapters examine different aspects of the theater of the Golden Age, impugning some widely held assumptions. In "Lope de Vega, Calderon de la Barca and Tirso de Molina: Spain's Golden Age Drama and its Legacy," Jonathan Thacker considers Lope de Vega, the most influential playwright of Spain's Golden Age, not only as a creator of plays but also as a theatergoer. …

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西班牙戏剧史编辑。María M. Delgado 和 David T. Gies

Maria M. Delgado 和 David T. Gies，编辑。西班牙戏剧史。剑桥 UP 2012（平装版 2015）。558 页。 Maria M. Delgado 和 David T. Gies 对西班牙主义的新贡献是一部非常规的文学史。因为它是专家文章的汇编，西班牙戏剧史避免了一些困扰其他文学史的主要陷阱。单编编年史不可避免地提供了有限的视角，因为没有一个学者可以成为民族文学各个方面或时期的专家。即使是某一领域的高素质专家——比如西班牙喜剧——也可能在其他领域存在不足，比如 zarzuela 或当代女权主义剧院。然而，《西班牙戏剧史》的编辑们概述了从中世纪到 21 世纪的西班牙戏剧，由二十多位不同背景、专业领域和方法的杰出学者提供。其结果是一部全景式的、深刻的、多方面的西班牙戏剧史。编者富有洞察力的引言提出了一些通常被学者忽视的问题。最基本的是：什么是西班牙戏剧？批评家、历史学家和政治家倾向于将西班牙与马德里或卡斯蒂利亚等同起来，这导致学者们忽视了在伊比利亚半岛以西班牙语以外的语言蓬勃发展的文化的存在，例如阿拉伯语、巴斯克语、加泰罗尼亚语、纳瓦罗-阿拉贡语. 此外，给予西班牙的首要地位 黄金时代导致学者们忽视了西班牙 18 和 19 世纪丰富的戏剧传统。编辑认为，戏剧文化比选定的一组经典作品要广泛得多。表演技巧、观众口味、戏剧空间和无数其他元素都在发挥作用。编辑们并没有将霸权分配给文本或与表演相关的问题，而是试图从整体上看待戏剧，包括剧本、舞台结构、动力学、出版商的角色和副语言材料。尽管他们的重点是西班牙半岛，但他们试图通过探索殖民主义问题和西班牙戏剧在拉丁美洲和欧洲的海外广泛影响来扩展我们对西班牙戏剧的认识。编辑们的 坦率的修正主义方法对关于什么构成国家剧院和西班牙剧院参数的传统假设提出了质疑。中世纪西班牙的戏剧史是“缺席的历史”（18）。几十年来，人们一直认为几乎没有证据表明在 12 世纪末创作的 Auto de los Reyes Magos 和 Juan del Encina 的戏剧之间存在戏剧传统，其中第一部出现在 Cancionero de 1496 . 然而，戈麦斯莫雷诺认为，证明场景和服装付款的记录以及对超戏剧作品的引用确实存在。此外，学者们现在正在恢复一些丢失的戏剧文本或在其他作品中找到对它们的引用。Gomez Moreno 认为，为了了解中世纪伊比利亚戏剧活动的广度，我们需要扩大视野。戈麦斯·莫雷诺 (Gomez Moreno) 考察了托莱多和其他地方的礼仪剧院，以及葡萄牙的 momos 和其他中世纪戏剧形式。他总结道：“现代学术使我们能够以间接的方式感知西班牙中世纪活跃的表演传统的存在”（35）。接下来的四章探讨了黄金时代戏剧的不同方面，质疑一些广泛持有的假设。在“Lope de Vega、Calderon de la Barca 和 Tirso de Molina：西班牙的黄金时代戏剧及其遗产”中，Jonathan Thacker 认为 Lope de Vega，西班牙黄金时代最有影响力的剧作家，不仅是戏剧的创作者，也是剧院的观众。…