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• La monja alférez, famosa comedia atribuida a Juan Pérez de Montalbán ed. by Gabriel Andrés Renales
• Marta Albalá Pelegrín

LA MONJA ALFÉREZ (ca. 1626) is a theatrical rewriting of the life of the Basque individual who was born in San Sebastian as Catalina de Erauso and died in Mexico under the name of Antonio. In the play, Erauso is fictionalized as Guzmán, echoing the name that they took while fighting in the Arauco War in Chile: Alonso Ramírez de Guzmán. Erauso became a celebrity in their lifetime. Contemporaries were drawn to their life and deeds. The fascination continues today, with scholars, theater companies, and audiences. Indeed, since the publication of Andrés’s edition in 2020, several performances of La monja alférez have taken place. Notably, a full production of the play that conceived Erauso as a trans soldier by the Mexican Compañía Nacional de Teatro (CNT), directed by Zaide Silvia Gutiérrez and premiered at the Festival de Alcalá in July 2022. In November 2023, another production of the play, directed by Daniel Alonso de Santos, was staged at Teatro Círculo (New York). Erauso has also garnered interest from artists in Iberia, and the 2022 exhibition by the Spanish artists Cabello/Carceller, “Una voz para Erauso. Epílogo para un tiempo trans,” involved general audiences in a dialogue about Erauso’s transness.

In the early modern period, Erauso’s life was narrated in a variety of genres and often mediated by other voices. Besides La monja alférez, there is an autobiography most likely written (or dictated) by Erauso and now available in a new critical edition by Miguel Martínez (Catalina de Erauso, Vida y sucesos de la Monja Alférez, Clásicos Castalia, 2021). Erauso’s life is documented in several contemporaneous sources, and in both printed and manuscript relaciones (accounts) that appeared from 1617 to 1653, as well as in materials held in Spanish, Peruvian, and Mexican archives that Martínez’s edition makes available, including a petition of méritos y servicios, an account of services presented to the Council of Indies in Madrid in order to claim royal favor and a pension for their military service. A second play, as Andrés and other critics have hypothesized (8), may have existed.

This new edition of the play carries a couple of surprises. In it, Guzmán turns into a pimp, as the character of Teodora explicitly mentions that she [End Page 179] gives him the money she earns with other clients (62–63, vv. 647–48). Indeed, Andrés’s edition presents a new stemma codicum, or reconstruction of surviving textual witnesses. Its text is based on what Andrés deems to be the oldest and most complete version of the play (textual witness A), preserved in a single copy at the Biblioteca Nacional de España (T/15035/17). This witness contains 326 additional lines of verse, as well as “soluciones lingüísticas más antiguas e incluso alguna muestra de caracterización del habla de jaques y valentones” (14). These additional lines disentangle the reading of passages that, in other editions, struck the reader as full of lacunae, notably the above-mentioned conversation of Teodora with Miguel, now with more than a hundred additional lines, and a scene of what seems to be an interpolated comic piece (perhaps sung) or jácara entremesada of the character types of jaques and valentones. There are other moments in which these additional lines clarify previously obscure passages; for instance, the conversation between Guzmán and Don Diego in act 1 and an exchange between Machín and Inés in act 3. As Andrés notes in his introduction, modern editions of La monja alférez had hitherto relied on textual witness Sb, preserved in the Biblioteca Nacional de España (T/14786/21; T/55268/31; T/55268/30), the Bibliothèque nationale de France (Yg. Piece 814), and other institutions, which...

 审阅者：

• 
  La monja alférez，著名喜剧，由胡安·佩雷斯·德·蒙塔尔班主编。作者：加布里埃尔·安德烈斯·雷纳莱斯
•  玛尔塔·阿尔巴拉·佩莱格林

《LA MONJA ALFÉREZ 》（约 1626 年）是对巴斯克人一生的戏剧改写，他出生于圣塞巴斯蒂安，名叫卡塔利娜·德·埃劳索，死于墨西哥，名叫安东尼奥。在剧中，埃劳索被虚构为古兹曼，呼应了他们在智利阿劳科战争中战斗时所取的名字：阿隆索·拉米雷斯·德古兹曼。埃劳索在他们的一生中成为了名人。同时代的人被他们的生活和事迹所吸引。时至今日，学者、剧团和观众仍然对它着迷。事实上，自 2020 年安德烈斯版本出版以来， 《La monja alférez》已经举办了多场演出。值得注意的是，墨西哥国家剧院 (CNT) 制作了这部将埃拉索塑造成一名跨性别士兵的戏剧，由扎伊德·西尔维娅·古铁雷斯 (Zaide Silvia Gutiérrez) 执导，并于 2022 年 7 月在阿尔卡拉音乐节首演。2023 年 11 月，该剧的另一部作品该剧由丹尼尔·阿隆索·德桑托斯执导，在Teatro Círculo（纽约）上演。 Erauso 还引起了伊比利亚艺术家的兴趣，以及西班牙艺术家 Cabello/Carceller 2022 年的展览“Una voz para Erauso”。 Epilogo para un tiempo trans”让普通观众参与到有关埃劳索跨性别性的对话中。

在近代早期，埃劳索的生活被以多种体裁叙述，并经常由其他声音介导。除了《La monja alférez》之外，还有一本自传很可能是由 Erauso 撰写（或口授）的，现在可以在 Miguel Martínez 的新批评版中找到（Catalina de Erauso、 Vida y sucesos de la Monja Alférez 、Clásicos Castalia、2021）。埃劳索的生平在几个同时代的资料中都有记载，包括 1617 年至 1653 年出现的印刷版和手稿relaciones （记述），以及马丁内斯版本提供的西班牙、秘鲁和墨西哥档案馆中保存的材料，其中包括一份请愿书méritos y servicios ，向马德里印度委员会提交的服务记录，以获取皇室恩惠和服兵役养老金。正如安德烈斯和其他评论家所假设的那样（8），第二部戏剧可能已经存在。

该剧的新版本带来了一些惊喜。在其中，古兹曼变成了皮条客，因为特奥多拉的角色明确提到她[结束第179页]把她从其他客户那里赚来的钱给了他（62-63，vv. 647-48）。事实上，安德烈斯的版本提出了一个新的词干，或对幸存文本证人的重建。其文本基于安德烈斯认为该剧最古老、最完整的版本（文本证人 A），该版本保存在西班牙国家图书馆 (T/15035/17) 的一份副本中。该证人包含 326 行额外的诗句，以及“soluciones lingüísticas más antiguas e incluso alguna muestra de caracterización del habla de jaques y valentones”(14)。这些附加的台词解开了在其他版本中给读者留下的充满空白的段落的阅读，特别是上面提到的特奥多拉与米格尔的对话，现在增加了一百多行，以及一个似乎是一个场景。插入的喜剧作品（可能是歌唱的）或Jaques和valentones角色类型的jácara entremesada 。在其他一些时刻，这些附加的台词可以澄清以前晦涩难懂的段落。例如，第一幕中古兹曼和唐·迭戈之间的对话以及第三幕中马钦和伊内斯之间的交流。正如安德烈斯在引言中指出的那样， 《La monja alférez》的现代版本迄今为止依赖于保存在国家图书馆中的文本见证 Sb西班牙国家图书馆（T/14786/21；T/55268/31；T/55268/30）、法国国家图书馆（Yg. Piece 814）和其他机构，...