Teatro completo by Bartolomé de Torres Naharro
By Bartolomé de Torres Naharro
Bartolomé de Torres
Naharro (1485-1520) es uno de los autores fundamentales de l. a. historia del teatro español. Además de ser el primer preceptista teatral
en lengua romance en Europa, su obra tuvo una grandísima difusión a lo largo del siglo XVI, muy enhanced a los angeles de otros dramaturgos. Divide sus obras dramáticas, varias de ellas políglotas, en comedias "a noticia" y comedias "a fantasía" y recoge en ellas las principales tendencias dramáticas europeas (italianas, latinas, castellanas, portuguesas, etc.) de modo que prefigura aspectos que se desarrollarán en el teatro barroco.
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In 1975 New Theatre Magazine (published from Bristol University) was merged with Theatre Research IRedo erches thedtrales to become Theatre Research International, edited from Glasgow University and published by Oxford Journals. Not to be outdone in this respect, Cambridge University Press, in 1984, launched New Theatre Quarterly, now known as NTQ. A striking difference between European and North American practice, implicit in the titles of the journals, is the much sharper distinction that has traditionally been observed in all European countries between dramatic literature and theatre history.
Nor are Eastern-bloc countries lacking in graphic illustrations of these performances. One such picture - beautiful in its own right - appears as Plate 4 in Volume in of my Early English Stages (726), a version of the Visitatio Sepulchri now in the Art Gallery at Cracow; another, this time from the ancient Hungarian capital city of Estergom, depicts Christ's burial and Resurrection, carved and painted on a huge three-dimensional pageant wagon, or 'tabernacle' dated c. o]). Is it unique? I do not need to labour this point any further since there are other contributors to this volume who will both make it more forcefully and supply correctives to this perspective.
In other words, the effort and skills needed to recover the visual iconography and the musical factors which originally accompanied both the devising and execution of these plays have led scholars to devote far more time and energy in recent years to the dramatic and theatrical, rather than strictly literary, qualities of these plays. The truth of this proposition becomes apparent on even the most cursory perusal of recently published bibliographies. Richard Southern's The Medieval Theatre in the Round (1957 [^2]), T.