The aim of this article is to consider from a new point of view the data collected by the scholars who have studied the adaptations of Lope’s comedias in the italian theatre of the XVIIth century. We will analyze the publication data of the adapted comedias; the strategies of the adaptations’ titles; the subgenres preferred by the adaptators. As to this last point, we will see that Roman playwrights prefer urban comedies; professional actors prefer comedias with a romanceril or chivalric theme, or palatine dramas or comedies; whereas Neapolitan and Florentine dramatists prefer palatine or historical dramas and comedies. In this context, the dramatic practice of Giacinto Andrea Cicognini stands out for its singularity, starting from his moving from Florence to Venice in 1646. We will analyze the changes of his adapting strategies and the meanings of these changes, unique as they are in this period.
ANTONUCCI Fausta (2014). “¿Qué Lope se conocía en la Italia del siglo XVII?”. CRITICÓN, 122, 83-96.
|Titolo:||“¿Qué Lope se conocía en la Italia del siglo XVII?”|
|Data di pubblicazione:||2014|
|Citazione:||ANTONUCCI Fausta (2014). “¿Qué Lope se conocía en la Italia del siglo XVII?”. CRITICÓN, 122, 83-96.|
|Appare nelle tipologie:||1.1 Articolo in rivista|