Abstract:

Despite the derivative plotlines, crude characterizations, and prioritization of performance over posterity for which scholars have criticized his Cuatro comedias, Lope de Rueda (1505?–65?) received great acclaim among contemporaries. To reconcile this disconnect between abiding popular acclaim in the late sixteenth century and critical dismissals in literary histories, this article draws new attention to his practices as actor-director, where Rueda was the impresario at the helm of a successful itinerant troupe. In particular, analysis here illuminates one key artistic practice, proposing that the structural changes made to Rueda’s Italian sources reveal methods that enabled consistently popular performances. By examining Rueda’s Medora (adapted from Gigio Artemio Giancarli’s La zingana) and Los engañados (from the Accademici Intronati di Siena’s Gl’Ingannati), I argue that Rueda consciously simplified imbroglios and handed control of plotlines to the servants for whose portrayal he was famed. His plays, then, were crafted to enable his direction of temporary cast members onstage during performance. A comparison of these adaptations with one intended for amateurs, the Comedia de Sepúlveda (from Girolamo Parabosco’s Il Viluppo), reveals such changes to be specific to the professional actor-director.

 抽象的：

尽管洛佩·德·鲁埃达（Lope de Rueda，1505？–65？）的四角喜剧因情节衍生、人物塑造粗糙、表演优先于后人而受到学者们的批评，但他还是在同时代人中获得了极大的赞誉。为了调和十六世纪末持久的民众赞誉与文学史上的批评性排斥之间的这种脱节，本文重新关注他作为演员兼导演的实践，鲁埃达是一个成功的巡回剧团的指挥。特别是，这里的分析阐明了一个关键的艺术实践，提出对鲁埃达的意大利资料进行的结构性改变揭示了能够持续受欢迎的表演的方法。通过研究鲁埃达的《梅多拉》 （改编自吉吉奥·阿特米奥·吉安卡利的《La zingana》 ）和《Los engañados 》（摘自锡耶纳学院的《Gl'Ingannati 》），我认为鲁埃达有意识地简化了纠纷，并将情节控制权交给了他因描绘而闻名的仆人。他的戏剧经过精心设计，以便在表演期间指导舞台上的临时演员。将这些改编作品与针对业余爱好者的改编作品《塞普尔韦达喜剧》 （来自吉罗拉莫·帕拉博斯科的《伊尔维鲁波》）进行比较，揭示了这些变化是针对专业演员兼导演的。