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Las acotaciones en el teatro de Cervantes: hacia una propuesta taxonómica
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[spa] Las comedias y tragedias de Cervantes que conforman un total de once piezas son parte de la carrera dramática que emprendió el escritor. Pese a que esta no gozara del éxito y reclamo que su autor hubiera querido, tanto en las obras manuscritas como en las editadas las acotaciones son el testimonio que con mayor certeza se aproxima a la conciencia dramática y desvela la voz de autor –en términos áureos– que tuvo que acallar. El estudio clasificatorio de todas las acotaciones del corpus cómico cervantino permite desvelar la atenta mirada que Cervantes ofrecía a cada aspecto del teatro de su tiempo, cuya importancia pivota entre la construcción del personaje y la configuración de la escena. Asimismo, en estas anotaciones tan particulares se rastrean huellas autoriales en aquellas comedias que bajo el epíteto de «nuevas» tuvieron que conformarse con las planchas metálicas de la imprenta y no con las de madera del tablado de los corrales de comedias.
[eng] Cervantes’ comedies and tragedies that constitute a total of eleven plays are part of the dramatic career that the writer undertook. Although it did not enjoy the success and claim that its author would have wanted, in both the handwritten and the edited plays, the stage directions are the testimony that most certainty approaches the author’s dramatic conscience and reveals his voice of director, which had to be silenced. The classification of the whole stage directions of the Cervantine comic corpus reveals the attentive look that Cervantes offered to each aspect of the theatre of his time, whose importance revolves between the construction of the character and the configuration of the scene. Likewise, in these very particular stage directions authorial prints are traced in those comedies that under the epithet of «new» had to acquiesce to the metal plates of the printing press and not with those of wood of the stage of the comedy theatres.
[eng] Cervantes’ comedies and tragedies that constitute a total of eleven plays are part of the dramatic career that the writer undertook. Although it did not enjoy the success and claim that its author would have wanted, in both the handwritten and the edited plays, the stage directions are the testimony that most certainty approaches the author’s dramatic conscience and reveals his voice of director, which had to be silenced. The classification of the whole stage directions of the Cervantine comic corpus reveals the attentive look that Cervantes offered to each aspect of the theatre of his time, whose importance revolves between the construction of the character and the configuration of the scene. Likewise, in these very particular stage directions authorial prints are traced in those comedies that under the epithet of «new» had to acquiesce to the metal plates of the printing press and not with those of wood of the stage of the comedy theatres.
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Màster Oficial d'Estudis Avançats en Literatura Espanyola i Hispanoamericana, Facultat de Filologia i Comunicació, Universitat de Barcelona. Curs: 2021-2022. Tutot: Gaston Gilabert
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GONZÁLEZ MESAS, Emma. Las acotaciones en el teatro de Cervantes: hacia una propuesta taxonómica. [consulta: 9 de gener de 2026]. [Disponible a: https://hdl.handle.net/2445/193606]