Reviewed by:

• Dramaturgas del Siglo de Oro. Guía completa by Juana Escabias
• Victoria Jane Rasbridge

IN COMEDIA STUDIES THERE HAS LONG BEEN an imbalance in favor of the work of male dramatists, but in recent decades there has been a concerted effort to redress this difference. Thanks to this work, a select few female writers, chiefiy Ana Caro de Mallén, María de Zayas, and Sor Juana Inés de la Cruz, have since been integrated into the canon. What is yet to materialize, however, are careful studies of the numerous noncanonical female playwrights from the period. In this regard, Juana Escabias’s Dramaturgas del Siglo de Oro. Guía completa plays an essential role as it showcases the women history has forgotten. Escabias’s new monograph provides an invaluable guide to both the celebrated and the oft-neglected female dramatists of the Golden Age, making a case for their previously unacknowledged number and breadth.

Divided into two main categories, secular writers and religious writers, the guide lists nineteen female authors known to have produced dramatic material in the sixteenth and seventeenth centuries—comedias, autos, loas, coloquios, bailes, fiestas en verso, sainetes en verso, or entremeses. In both parts the authors are arranged in alphabetical order and each entry contains basic biographical material including birth date, marriages, children, and date of death (where known), followed by a list of the author’s dramatic output, a list of manuscripts as well as different editions of their works for the stage and, finally, a curated selection of biographical texts about the writer. These two parts are bookended by two additional entries for Paula Vincente and Sor María de Jesús de Ágreda. Escabias credits the former as “el antecedente de todo el elenco de autoras teatrales del Siglo de Oro … hija del famoso dramaturgo renacentista portugués Gil Vincente” (15) and includes the latter because she fervently supported the theater in a now-lost letter, Carta a Felipe IV sobre la licitud de las comedias, despite having no dramatic output of her own. In the entries in the two main parts, Escabias seamlessly weaves together bibliographical information with archival evidence, social reception, and literary criticism. The succinctness of the entries makes them accessible to new and expert readers alike and demonstrates the author’s immense knowledge and authority on the subject. [End Page 153]

There are four entries in the guide that stand out in particular. First is the bibliographical information found in Ana Caro’s entry (29). Escabias acknowledges that scholars have hitherto struggled to outline this celebrated playwright’s biography with any certainty and then deftly summarizes the recent discovery of archival material that sheds new light on details about her birth: a baptismal certificate records that Ana Caro received the sacrament in October 1601, when she was ten years old. From this document as well as other material, Escabias deduces that Caro was enslaved shortly after birth, circa 1590, most likely during the mass enslavement of Moriscos following numerous failed uprisings in late sixteenth-century Spain before being legally adopted around ten years later by one of the most powerful and Christian families in Granada. Second is Feliciana Enríquez de Guzmán’s entry (65). In this particularly noteworthy entry, Escabias explains that her only surviving play Tragicomedia los jardines y campos sabeos (1627) is “la primera obra de teatro escrita por una mujer que conservamos en España” (65) and that, unlike many contemporary works, it did not adhere to Lope de Vega’s formula for the comedia, favoring instead the older style of classical theater. In just a few paragraphs Escabias establishes the contemporaneous literary landscape, outlines the structure of the play, and offers a detailed summary of its plot, as well as of its performance and publication history.

Third and of equal interest in this part 1 is the entry on Margarita Ruano, author of three previously unknown bailes Escabias discovered and published a decade ago (“Margarita Ruano, obras dramáticas inéditas: Baile del juego de vuelen pajaritos, Baile de veneno de los sentidos, Baile...

 审阅者：

• 
  黄金时代剧作家胡安娜·埃斯卡比亚斯完整指南。
•  维多利亚·简·拉斯布里奇

在喜剧研究中，长期以来一直存在着对男性剧作家作品的不平衡，但近几十年来，人们齐心协力纠正这种差异。多亏了这部作品，一些精选的女作家，包括安娜·卡罗·德马伦 (Ana Caro de Mallén)、玛丽亚·德·扎亚斯 (María de Zayas) 和修女胡安娜·伊内斯·德拉克鲁斯 (Sor Juana Inés de la Cruz)，被纳入了经典之中。然而，尚未实现的是对这一时期众多非经典女性剧作家的仔细研究。在这方面，胡安娜·埃斯卡比亚斯（Juana Escabias）的《黄金时代戏剧》（Dramaturgas del Siglo de Oro）。 Guía completa发挥着重要作用，因为它展示了被遗忘的女性历史。艾斯卡比亚斯的新专着为黄金时代著名的和经常被忽视的女剧作家提供了宝贵的指南，为她们以前未被承认的数量和广度提供了依据。

该指南分为两大类：世俗作家和宗教作家，列出了 19 名已知在 16 世纪和 17 世纪创作过戏剧作品的女性作家——喜剧、汽车、 loas 、 coloquios 、 bailes 、 fiestas en verso 、 sainetes en verso或中间人。在这两部分中，作者均按字母顺序排列，每个条目都包含基本传记材料，包括出生日期、婚姻、子女和死亡日期（如果已知），后面是作者的戏剧作品列表和手稿列表他们的舞台作品的不同版本，最后是精选的关于作家的传记文本。这两部分由 Paula Vincente 和 Sor María de Jesús de Ágreda 的另外两个条目结尾。艾斯卡比亚斯将前者归功于“el antecedente de todo el elenco de autoras teatrales del Siglo de Oro … hija del famoso Dramaturgo renacentista portugués Gil Vincente”（15），并将后者包括在内，因为她在一封现已遗失的信件《Carta》中热切支持剧院费利佩四世拥有喜剧资格，尽管她自己没有戏剧作品。在两个主要部分的条目中，埃斯卡比亚斯将书目信息与档案证据、社会接受和文学批评无缝地编织在一起。这些条目的简洁性使新读者和专家读者都可以理解，并展示了作者在该主题上的丰富知识和权威。 [完第153页]

该指南中有四个条目特别引人注目。首先是 Ana Caro 条目 (29) 中找到的参考文献信息。艾斯卡比亚斯承认，迄今为止，学者们一直在努力准确地概述这位著名剧作家的传记，然后巧妙地总结了最近发现的档案材料，这些材料为有关她出生的细节提供了新的线索：一份洗礼证书记录了安娜·卡罗于 1601 年 10 月接受了圣礼，当她十岁的时候。根据这份文件以及其他材料，埃斯卡比亚斯推断卡罗出生后不久，即 1590 年左右，就被奴役了，很可能是在 16 世纪末西班牙多次失败的起义之后对摩里斯科人的大规模奴役期间，大约十年后被一个人合法收养。格拉纳达最有权势的基督教家庭。其次是 Feliciana Enríquez de Guzmán 的参赛作品 (65)。在这篇特别值得注意的条目中，埃斯卡比亚斯解释说，她唯一幸存的戏剧《Tragicomedia los jardines y Campos sabeos 》（1627）是“la primera obra de teatro escrita por una mujer que conservamos en España”（65），并且与许多当代作品不同，它没有遵循洛普·德·维加的喜剧公式，而是偏爱老式的古典戏剧风格。 《艾斯卡比亚斯》仅用几段文字就确立了当时的文学格局，概述了该剧的结构，并详细概述了其情节、表演和出版历史。

第三部分，与第 1 部分同样有趣的是 Margarita Ruano 的条目，她是十年前 Escabias 发现并出版的三部以前不为人知的baile的作者（“Margarita Ruano, obras dramáticas inéditas: Baile del juego de vuelen pajaritos , Baile de veneno de los森蒂多斯、拜勒……