El dómine Lucas y El maestro de danzar
My main purpose is to analyze the rewriting process that links two plays by Lope de Vega, El dómine Lucas and El maestro de danzar, written in his youth for the autor de comedias Melchor de Villalba. I will focus on how Lope reuses, rejects, expands and redistributes the materials from El dómine Luc...
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| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2017 |
| País: | España |
| Institución: | Universitat Autònoma de Barcelona |
| Repositorio: | Dipòsit Digital de Documents de la UAB |
| Idioma: | español |
| OAI Identifier: | oai:ddd.uab.cat:266722 |
| Acceso en línea: | https://ddd.uab.cat/record/266722 |
| Access Level: | acceso abierto |
| Palabra clave: | Lope de Vega Rewriting El dómine Lucas El maestro de danzar Spanish Golden Age theatre |
| Sumario: | My main purpose is to analyze the rewriting process that links two plays by Lope de Vega, El dómine Lucas and El maestro de danzar, written in his youth for the autor de comedias Melchor de Villalba. I will focus on how Lope reuses, rejects, expands and redistributes the materials from El dómine Lucas in the composition process of El maestro de danzar. I will also try to explain the possible reasons that led Lope to make some of the most remarkable changes, such as the profession of the main character. It seems that Lope's deep knowledge of the art of dance played an important role in this decision, for it allowed him to create numerous plays on words and amusing scenes that are featured throughout the play. It can also be assumed that Lope saw in the physical approach between teacher and student - barely present in El dómine Lucas - a good opportunity to give the audience some erotic scenes, which were very appreciated at the time. |
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