M ª Luisa Lobato and Juan A. Berbel Martínez (Eds.), Moretiana. Adverse and prosperous fortune Moreto Augustine, Madrid - Frankfurt, Iberoamericana - Vervuert, 2008, 371 p. ISBN: 978-84-8489-400-1 *** Link to the publisher on the cover, link to the online volume, Google Scholar, the volume title
*** Reviewer: Sophia
Cantalapiedra Delgado University of Barcelona
days 6 to 9 November 2006 was held at the University of Burgos the first International Congress dedicated to Agustín Moreto under the title "dramatic and practical strategies Augustine theatrical Moreto. International Congress of the Golden Theater, coordinated by Maria Luisa Lobato and Juan A. Martínez Berber. The result of this meeting appears in this volume entitled: Moretiana. Adverse and prosperous fortune Moreto Augustine, whose need is to show the scientific community question the status of the studies devoted to the figure of one of the most important dramatists of the seventeenth century, under the pen of the best specialists moretianos and theater of the Golden Age Sixteen items are divided into four sections which form the body of the volume, whose introduction and M ª Luisa Lobato says the need to recover the "adverse" dramaturgy Moreto fortune, it is the first monograph devoted to the author in Madrid after the studies of Kennedy (1932), Caldera (1960), House (1966), Castaneda (1974) and Mackenzie (1994).
The first section focuses on the theatrical company which Moreto Augustine played a dynamic, whose article, Maria Luisa Lobato shows the great activity of the author of The disdain with disdain as a businessman and playwright between 1637 and 1654, together with the authors of the most famous companies in the first half of the seventeenth century as Antonio Garcia de Prado, Prado Sebastián , Gaspar Fernández de Valdés, Juan Vivas and Diego Osorio, among others. Zugasti Miguel, meanwhile, leads the reader through the vicissitudes suffered by the autograph manuscript The power of friendship at stake against censors, editors, printers and comedians to his appearance in 1654, in Part comedy of D. Agustín Moreto and Shack. Esther Borrego and Luciano Lorenzo García study the reception of the work of the playwright. The first analyzes the mixture in which The force of the law , integrates elements of a pattern of burlesque tragedy of honor, possibly due to attrition over the decades suffered the genre and led to the playwrights to seek new ways to keep the 'applause of the people. " The second, in line with its research and teaching, which gives us great light to young researchers in analyzing the assembly of our playwrights golden-analyzes and compiles Moreto presence in the English scene from 1939 to 2006, showing that The disdain with contempt and The wonderful Don Diego works have been represented so far.
The second section focuses on the techniques of dramatic writing at the time of Moreto. Are responsible for rewriting and Abraham Blessed Baczynska Madroñal. The Polish scholar analyzes the consolidation of 's best friend, King, from comedy Caution against caution, attributed to Tirso, "giving greater cohesion to the plot and characters greater transparency" in the words of Baczynska. Do not forget that Moreto was and has been known for the famous Jerome molestation Cancer y Velasco, which portrayed the playwright (re) writing "Old Comedy", a rewrite that in the case of these works, achieves the highest quality in the model of the New Comedy. For his part, Abraham Madroñal analyzes the process of rewriting between Similar and The similarity in the Court, case where the editor notes that the first is a shorter version, possibly due to the demands of a company to suit theatrical representation, while the second appears to be the version closest to the author's will. Juan Antonio Martínez Berbel offers a valuable and useful tool for structural analysis and dramatic production Moreto Augustine. And Marcella Trambaioli Alessandro Cassol and focus on the study of the collaborative plays within the dramatic corpus Moreto prominently, sharing pen Matos, Cancer or Calderon himself.
The third part includes the analysis of issues in drama moretiana. First, Judith Farr offers a delicate study of comedy Until the end no one is happy, recasting of the work of Guillén de Castro brothers Enemies, in which landscaped areas are the perfect backdrop for the loving intimacy , reflection, the characterization of the beauty of the lady and the outcome. Héctor Brioso analyzes the fun loving slightly "mechanical" in Moreto interludes. Manuel Cornejo offers analysis of the different place names with which Moreto refers to the English capital and in which space plays a role essentially playful. In a historical comedy, Castilla judges, the article focuses Sáez Francisco Raposo, showing that Moreto is based, to create his work, in the character of Ramiro II of León (931-951) as a symbol of the birth of Castilla. For his part, Javier Rubiera The work is licensed glazed, analyzing components not considered so far by the critics: the feigned madness of the protagonist and the subtitle of the play, The fortunes of Charles, that shed light on the correct interpretation of the deed, not the work of Cervantes.
The last section includes studies focused on the interplay of the characters in the theater of Moreto: ladies, gallant and graceful. Ana Suárez Miramón made an anthropological analysis of the figure of the woman in the work moretiana. Delia Gavela focuses on the figure of the gallant "roguish" in the sitcoms and Elena Di Pinto discusses the importance of funny The wonderful Don Diego.
We, therefore, before the first volume devoted to analyzing the dramatic moretiana the hand of the best specialists, that print and now turning the wheel of the goddess Fortuna, returning to Augustine Moreto of prosperous fortunes adversely.
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