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학제간연구 과학기술학 뇌인지과학 기술정책 기타 복합학

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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
한국스페인어문학회(구 한국서어서문학회) 스페인어문학 스페인어문학 제48호
발행연도
2008.1
수록면
253 - 276 (24page)

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There has not been any significant study on Lope’s early drama prior to Spain’s 17th century ‘Teatro nacional’ that had been led by Lope. Therefore, it would be noteworthy to study his other aspects as a rookie play writer through his earlier plays that seem to be quite distant from his other works we are more familiar with. For this purpose, Los locos de Valencia deserves some attention. It is estimated to be written in 1590 and it contains many clues that can teach us about Lope’s early drama prior to ‘Teatro nacional’. The character, ‘gracioso’ which ‘Teatro nacional’ created and Lope and his followers had clearly established, takes on various missions beyond simple humor and wit. Interestingly, such character which is probably the most standard throughout ‘Teatro nacional’ is not present in Los locos de Valencia. However, it is not completely absent. The main character, Floriano who acts as a mental patient under the name, Beltrán displays certain characteristics of ‘gracioso’. We can conclude that Floriano is assuming partial ‘gracioso’’s role here. In other words, the main difference in Lope’s early plays is that ‘Teatro nacional’’s ‘gracioso’s and the male character’s symmetrical and dual characteristics are not present. Moreover, one subjective characteristic is the carnival insanity of Bakhtin that are described in several parts of the play. As an example, the satiation of meat or related inferior metaphors, various sexual implications and degradation of noble values in order to explain Bakhtin’s carnival concepts are found throughout the play. However, one of the biggest carnival characteristics of this play is that Lope is portraying ‘inverted world’ through Valencia’s mental hospital. This world is represented by two female and male characters that deny and ridicule patriarchal authority and utmost governmental power or overturn of the social hierarchy between hospital chairman’s daughter, Fedra and her maid, Laida. As the world comes back to normal at the end of a carnival, such ‘inverted world’ also returns back to the beginning state of the play. However, the utopia that was depicted in the play would have left the deep impression onto the audiences. Here, we can detect the fundamental difference between the comedy of ‘Teatro nacional’ and that of Lope’s early plays. In short, the first comedy is experienced by audiences when they witness the ideal society that they dream of without direct assimilation to the dramatic situations while the latter draws the audiences into the situations where they sometimes directly participate and experience the actual reformation. Therefore, the latter is blunter with reformative comedy characteristics.
#광기/ 카니발/ '국민연극' 이전의 초기 로뻬 연극 #Insanity/ Carnival/ Lope's early drama prior to 'Teatro nacional'

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참고문헌 (16)

참고문헌 신청
Alborg, Juan Luis / 1974 / Historial de la literatura espanola t. Ⅱ / Gredos google schola Arist?eles y Horacio / 1992 / Artes Po?icas(An?al Gonz?ez ed.) / Taurus Ediciones google schola Hermenegildo, Alfredo / 2005 / Burla y parodia del discurso oficial en el teatro primitivo espanol, La construccion de un personaje: el gracioso / Editorial Fundamentos google schola Jos?Prades, Juana de / 1963 / Teor? sobre los personajes de la comedia nueva, en cinco dramaturgos / CSIC google schola Morley, S. Griswold y Bruerton, Courtney / 1968 / Cronolog? de las comedias de Lope de Vega / Gredos. google schola

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