Within his theater collection, Editorial Chair presents two books by two classic authors: Lucas Fernandez and Andres de Claramonte.
Lucas Fernandez He is one of the great playwrights of the early Castilian dramatic tradition. This edition of his farces and eclogues (1514) constitutes the first book of theatrical pieces in the history of Spanish literature and allows a glimpse of some keys to that first classical theater of the early 16th century. The recourse to the pastoral tradition, the use of sayagués, the integration of new literary characters (such as the hermit and the soldier) or theological school resources reveal the maturity of a work that could be staged in cathedrals, universities and courts.
Lucas Fernández’s passionate theater has a valuable stage career in the 20th and 21st centuries, as it has attracted those responsible for suggestive productions such as Lorca or Lluch or, more recently, Miguel Narros and Ana Zamora.
This edition takes into account for the first time the testimonies of the two preserved copies of the farces and eclogues (BNE and RAE); At the same time, a careful philological annotation is made that will facilitate new staging, since it aspires to resolve two aspects of great interest: the use of sayagués in the pieces of love and the use of school traditions of cultured roots in the devout pieces.
Andrés de Claramonte y Corroy was born in Murcia, probably in 1580, and died in Madrid in 1626. His date of birth places him in the generation of Quevedo and Tirso de Molina, his early years coinciding with the start of the production of Lope y Góngora . His life takes place during the last years of the reign of Felipe II, the reign of Felipe III and the initial years of Felipe IV, a historical period of profound political, socioeconomic and sociocultural changes, which clearly affect theatrical activity. The information that has come down to us shows us Claramonte basically as a man of the theatre, being one of the few Spanish authors of some importance who were also actors, like Shakespeare and Molière. It can be affirmed that Claramonte, in his dual role as writer and comedian, is a man closely linked to the theatrical reality of his time. In this sense, his work as a dramatic poet is enriched by a direct experience of stage performance and by a marked command of its codes.as highlighted by the current debate about its relationship with some of the most relevant works of baroque comedy, recognized until now as Lope or Tirso.
The Trickster of Seville It is the first work in which the myth of Don Juan is developed, a universal character of the theater in the Castilian language and one of the most famous, along with the figure of the Commander, of all our literature. This new edition, in addition to offering a firmly established text based on the collation of the facsimile editions of the work and some other variants recorded in different representations, clarifies the long-standing debate about authorship, which, after a recent series of studies based on in objective analyzes and new verifiable methodologies, points without a doubt to the actor and playwright Andrés de Claramontecontemporary of other renowned authors such as Tirso de Molina or Lope de Vega, to whom several of his works have long been attributed.
Author: Lucas Fernandez. Title: Full Theater. Editorial: Chair. Sale: Allyourbooks.com
Author: András de Claramonte. Title: The Trickster of Seville. Editorial: Chair. Sale: Allyourbooks.com