Recepción e influencia del Teatro de Plauto en la literatura española
This doctoral dissertation is framed within the Classical Tradition and it objective is to study the presence and influence of the Roman theatre of Plautus (255-184 BC) in Spanish theatre. In chronological order, this thesis analyses works written from the late 15th century, when the Plautinian come...
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Universidad de La Rioja (España)
2003
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Plauto Tito Maccio Teatro clásico romano Teatro español Tradicion clásica Literatura comparada Plautus T M Classical Roman Theatre Spanish Theatre Classical tradition Comparative literature |
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Plauto Tito Maccio Teatro clásico romano Teatro español Tradicion clásica Literatura comparada Plautus T M Classical Roman Theatre Spanish Theatre Classical tradition Comparative literature Marqués López, Eva Recepción e influencia del Teatro de Plauto en la literatura española |
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This doctoral dissertation is framed within the Classical Tradition and it objective is to study the presence and influence of the Roman theatre of Plautus (255-184 BC) in Spanish theatre. In chronological order, this thesis analyses works written from the late 15th century, when the Plautinian comedies are rediscovered, until the 17th century in which Spanish theatre becomes a model.
The dissertation is divided into four chapters. The first chapter examines the transmission and valuation of the comedies of Plautus from Antiquity to the Middle Ages. The second chapter focuses on cult theatre, written in Latin and Spanish by university professors and teachers of Jesuit schools. These works which are pedagogical show a major influence of the Plautinian comedies and apply to a minority audience. The third chapter analyses works from the populist theatre, the authors of which sought to take advantage of the values of Latin and Spanish sources in order to create and accesssible theatre for a wide audience and thus to mark the path to the great theatre of the 17th century. The last chapter of the dissertation provides a non-exhaustive view of the plays from the 17th century until today in which, despite the requirement of Lope de Vega to move away from Latin roots in order to create a new theatre, one can still find reminiscences of Plautinian themes and characters.
In Spain, Plautus's values made him an appreciated source: his style and language were regarded as an unbeatable model to learn Latin correctly. Furthermore, the Plautine themes and characters were a never-ending source for Spanish playwrights. These authors based themselves either on the original Latin works or on the Italian adaptations, and also took elements from de Spanish literature, above all from La Celestina. The comedies of Plautus that were most imitated were Amphitruo, Menaechmi and Miles gloriosus, and the topics of the double and of the confusion of identities were the most present in the Spanish theatre landscape. |
| author2 |
Río Sanz, Emilio del (Universidad de La Rioja) |
| author_facet |
Río Sanz, Emilio del (Universidad de La Rioja) Marqués López, Eva |
| format |
text (thesis) |
| author |
Marqués López, Eva |
| author_sort |
Marqués López, Eva |
| title |
Recepción e influencia del Teatro de Plauto en la literatura española |
| title_short |
Recepción e influencia del Teatro de Plauto en la literatura española |
| title_full |
Recepción e influencia del Teatro de Plauto en la literatura española |
| title_fullStr |
Recepción e influencia del Teatro de Plauto en la literatura española |
| title_full_unstemmed |
Recepción e influencia del Teatro de Plauto en la literatura española |
| title_sort |
recepción e influencia del teatro de plauto en la literatura española |
| publisher |
Universidad de La Rioja (España) |
| publishDate |
2003 |
| url |
https://dialnet.unirioja.es/servlet/oaites?codigo=97 |
| work_keys_str_mv |
AT marqueslopezeva recepcioneinfluenciadelteatrodeplautoenlaliteraturaespanola |
| _version_ |
1718346623256363008 |
| spelling |
oai-TES00000074912016-04-13Recepción e influencia del Teatro de Plauto en la literatura españolaMarqués López, EvaPlautoTito MaccioTeatro clásico romanoTeatro españolTradicion clásicaLiteratura comparadaPlautusTMClassical Roman TheatreSpanish TheatreClassical traditionComparative literatureThis doctoral dissertation is framed within the Classical Tradition and it objective is to study the presence and influence of the Roman theatre of Plautus (255-184 BC) in Spanish theatre. In chronological order, this thesis analyses works written from the late 15th century, when the Plautinian comedies are rediscovered, until the 17th century in which Spanish theatre becomes a model. The dissertation is divided into four chapters. The first chapter examines the transmission and valuation of the comedies of Plautus from Antiquity to the Middle Ages. The second chapter focuses on cult theatre, written in Latin and Spanish by university professors and teachers of Jesuit schools. These works which are pedagogical show a major influence of the Plautinian comedies and apply to a minority audience. The third chapter analyses works from the populist theatre, the authors of which sought to take advantage of the values of Latin and Spanish sources in order to create and accesssible theatre for a wide audience and thus to mark the path to the great theatre of the 17th century. The last chapter of the dissertation provides a non-exhaustive view of the plays from the 17th century until today in which, despite the requirement of Lope de Vega to move away from Latin roots in order to create a new theatre, one can still find reminiscences of Plautinian themes and characters. In Spain, Plautus's values made him an appreciated source: his style and language were regarded as an unbeatable model to learn Latin correctly. Furthermore, the Plautine themes and characters were a never-ending source for Spanish playwrights. These authors based themselves either on the original Latin works or on the Italian adaptations, and also took elements from de Spanish literature, above all from La Celestina. The comedies of Plautus that were most imitated were Amphitruo, Menaechmi and Miles gloriosus, and the topics of the double and of the confusion of identities were the most present in the Spanish theatre landscape.Esta tesis doctoral se enmarca en la disciplina de la Tradición Clásica y su objetivo es estudiar la presencia e influencia del teatro latino de Plauto (255-184 a.C.) en el teatro español. Cronológicamente, se han estudiado obras compuestas desde finales del siglo XV, cuando se redescubren las comedias plautinas, hasta el siglo XVII, en el que el teatro español se convierte en un modelo. La tesis doctoral se divide en cuatro capítulos. En el primero se estudia la transmisión y valoración de las comedias de Plauto desde la Antigüedad hasta la Edad Media. El capítulo segundo se centra en el teatro culto, en latín y en castellano, escrito por profesores universitarios y de colegios de jesuitas. Estas obras muestran una gran influencia de las comedias plautinas, son de carácter pedagógico y se dirigen a un público minoritario. El capítulo tercero analiza obras del teatro populista, cuyos autores buscaron aprovechar los valores de las fuentes latinas y españolas para crear un teatro accesible a un público amplio y marcar así el camino hasta el gran teatro del siglo XVII. En el último capítulo de la tesis se ofrece una visión no exhaustiva de obras teatrales desde el siglo XVII hasta nuestros días en las que, pese a la preceptiva marcada por Lope de Vega de separarse de las raíces latinas para crear un teatro nuevo, aún pueden verse reminiscencias de temas y personajes plautinos. En España, los valores de Plauto lo convirtieron en una fuente apreciada: su estilo y lengua se consideraron un modelo inmejorable para aprender un correcto latín; además, la temática y los personajes plautinos eran una fuente inagotable para los comediógrafos españoles. Estos autores se basaron o bien en las obras originales latinas, o bien en las adaptaciones italianas, y también tomaron elementos de la literatura española, sobre todo, de La Celestina. Las comedias de Plauto más imitadas han sido Amphitruo, Menaechmi y Miles gloriosus, y los temas del doble y la confusión de identidades fueron los más presentes en el panorama teatral español.Universidad de La Rioja (España)Río Sanz, Emilio del (Universidad de La Rioja)2003text (thesis)application/pdfhttps://dialnet.unirioja.es/servlet/oaites?codigo=97spaLICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. 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