Abstract:

This article examines an almost completely unexplored element in Jerónimo de Cáncer’s comic interludes (entremeses)—the music. Through analysis of his own works as well as comparative examinations of Cáncer’s theatrical practice with those of other dramaturgs who cultivated the entremés genre, including Pedro Calderón de la Barca and Luis Quiñones de Benavente, we find Cáncer at the forefront of artistic developments in the thriving genre of short-form theater. This panoramic examination of music in the entremeses reveals how Cáncer structured some of his most recognizable works to incorporate musical features in which a burlesque dimension adapted literary set pieces, folklore, proverbs, and witty double entendres to the dictates of rhythm. The resulting festive atmosphere, we find, left key textual signs of the protagonism of musicians and other theatrical professionals.

 抽象的：

本文探讨了赫罗尼莫·德·坎塞尔的喜剧插曲（entremeses）中几乎完全未被探索的元素——音乐。通过对坎塞尔自己的作品的分析，以及对坎塞尔的戏剧实践与其他开创了中间剧流派的剧作家（包括佩德罗·卡尔德隆·德·拉·巴尔卡和路易斯·奎诺内斯·德·贝纳文特）的比较考察，我们发现坎塞尔处于蓬勃发展的艺术发展的最前沿。短剧的流派。对插曲中音乐的全景审视揭示了坎塞尔如何构建他的一些最知名的作品，以融入音乐特征，其中滑稽的维度将文学作品、民间传说、谚语和诙谐的双关语改编成节奏的指令。我们发现，由此产生的节日气氛留下了音乐家和其他戏剧专业人士的主角的关键文本标志。