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| + | Considerado como o fundador do teatro espanhol tanto por Cervantes como por Lope de Vega, Lope de Rueda adaptou peças italianas célebres conferindo-lhes um espírito e um brilho particulares que se tornaram a marca do teatro do século de ouro espanhol. | ||
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[http://es.wikipedia.org/wiki/Lope_de_Rueda Lope de Ruesa na Wikipedia, em espanhol] | [http://es.wikipedia.org/wiki/Lope_de_Rueda Lope de Ruesa na Wikipedia, em espanhol] | ||
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| − | [http://www.theatrehistory.com/spanish/rueda001.html | + | "Rueda's more ambitious plays are mostly adapted from the Italian; in ''Eufemia'' he draws on Boccaccio, in ''Medora'' he utilizes Giancarli's Zingara, in ''Armelina'' he combines Raineri's Attilia with Cecchi's Servigale, and in ''Los Engañados'' he uses Gl'Ingannati, a comedy produced by the Intronati, a literary society at Siena. These follow the original so closely that they give no idea of Rueda's talent; but in his pasos or prose interludes he displays an abundance of riotous humour, great knowledge of low life, and a most happy gift of dialogue. His predecessors mostly wrote for courtly audiences or for the study; Rueda with his strollers created a taste for the drama which he was able to gratify, and he is admitted both by Cervantes and Lope de Vega to be the true founder of the national theatre." ''in'' [http://www.theatrehistory.com/spanish/rueda001.html theatrehistory.com] e, no mesmo site, ver o artigo sobre [http://www.theatrehistory.com/spanish/bates003.html Early Spanish Drama and Epics] |
Edição actual desde as 17h02min de 7 de Agosto de 2008
Lope de Rueda
Considerado como o fundador do teatro espanhol tanto por Cervantes como por Lope de Vega, Lope de Rueda adaptou peças italianas célebres conferindo-lhes um espírito e um brilho particulares que se tornaram a marca do teatro do século de ouro espanhol.
Lope de Ruesa na Wikipedia, em espanhol
Los Engañados - Facsimile do texto original em cervantesvirtual.com
Paso de las Aceitunas - Versão para imprimir
"Rueda's more ambitious plays are mostly adapted from the Italian; in Eufemia he draws on Boccaccio, in Medora he utilizes Giancarli's Zingara, in Armelina he combines Raineri's Attilia with Cecchi's Servigale, and in Los Engañados he uses Gl'Ingannati, a comedy produced by the Intronati, a literary society at Siena. These follow the original so closely that they give no idea of Rueda's talent; but in his pasos or prose interludes he displays an abundance of riotous humour, great knowledge of low life, and a most happy gift of dialogue. His predecessors mostly wrote for courtly audiences or for the study; Rueda with his strollers created a taste for the drama which he was able to gratify, and he is admitted both by Cervantes and Lope de Vega to be the true founder of the national theatre." in theatrehistory.com e, no mesmo site, ver o artigo sobre Early Spanish Drama and Epics
... mais info, em breve...