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Nuevas Aportaciones Al Estudio De La Commedia Dell'arte En España CR/TJCÓN, 63, 1995, pp. 119-138. Nuevas aportaciones al estudio de la Commedia delVarte en España: el zibaldone de Stefanello Bottarga* María del Valle Ojeda Calvo Universidad de Sevilla Los estudios de la commedia dell'arte en España, basados en la documentación de archivos y en testimonios de los contemporáneos, se han limitado hasta ahora a constatar la presencia de cómicos italianos en la Península y su repercusión en el panorama teatral del momento. Por los escritos de viajeros —como el jesuíta G. D. Otonelli1—, de literatos —como L. Zapata, Lope de Vega...—2 y por las investigaciones llevadas a cabo en archivos españoles desde principios del siglo pasado, sabemos de la presencia en España de la compañía italiana de Alberto Naselli, más conocido por su nombre artístico de Ganassa.3 Debido a estos y otros estudios, conocemos también parte de la biografía de este actor y de su actividad teatral en España, los componentes y Agradezco al Prof. Marc Vitse y a la Prof. Mercedes de los Reyes la lectura de este artículo y sus acertadas observaciones, que he tenido muy en cuenta; y al Prof. Renzo Cremante su orientación en las investigaciones que he llevado a cabo en Italia, las cuales fueron posibles gracias a una ayuda de la Junta de Andalucía. 1 Giovan Domenico Otonelli, Delta Christiana Moderatione del Theatro. Libro detto L'Ammonitioni a' Recitanti, per avvisare ogni Cbristiano a moderarsi da gli eccessi nel recitare. Sonó divise in tre brevi tratiati [...), Florencia, Gio. Antonio Bonardi, 1652. 2 Véanse los ejemplos aportados por John Falconicri («Historia de la Commedia dell'arte en España», Revista de Literatura, XI-XII, 1957, pp. 34-37). 3 Para la documentación de la estancia de Ganassa en la Península, véanse los estudios globales de Norman D. Shergold («Ganassa and the Commedia dell'arte in Sixteenth-Century Spain», MLR, 51, 1956, pp. 359-68), J. V. Falconieri («Historia de la Commedia dell'arte en España», art. cit., pp. 3-37, 69-90), O. Arróníz {La influencia italiana en el nacimiento de la Comedia Española, Madrid, Credos, 1969) y M. Baífi («Un cómico dell'arte italiano en Spagna: Alberto Naselli, detto Ganassa», en Teoría y realidad en el teatro español del siglo XVII: la influencia italiana, Francisco Ramos Ortega, éd., Roma, Instituto Español de Cultura y Literatura de Roma, 1981, pp. 435-44), aunque este último contiene algunos datos erróneos. 120 MARlA DEL VALLE OJEDA CALVO Criticón, 63, 1995 la estructura de su compañía e, incluso, el año de su regreso a Italia, su país natal.4 Por uno de los contratos que firmó, por ejemplo, nos enteramos de que sus cómicos representaban en italiano, pues declaran que forman compañía «sobre el recitar y hacer comedias y otras cossas semejantes en nuestra lengua y curso italiano».5 Asimismo se sabe, siempre por documentos notariales, que, en Sevilla y en Toledo, representaron autos sacramentales durante las fiestas del Corpus Christi y que éstos debieron ser bastante buenos, ya que, en Sevilla en 1575, la compañía de Ganassa se llevó la joya, es decir, ganó el premio que se otorgaba a la mejor representación.6 En cambio, a diferencia de lo que pasa para Francia o Italia, tenemos poquísimas noticias sobre las modalidades propias de esta actividad teatral en España. En efecto, para aquellos países, quedan testimonios de representaciones y se conservan unos ochocientos scenari —o sea, guiones de obras dramáticas— pertenecientes en gran parte al siglo XVII y descubiertos en su mayoría en el siglo pasado. Pero datos semejantes nos faltan por completo en España. Estamos obligados a proyectar lo que sabemos de la commedia dell'arte en Italia y Francia para poder imaginar cómo sería el repertorio que Ganassa trajera a la Península, qué tipo de representaciones hacía,7 y qué pudo llevar a los escenarios españoles que tanto llamó la atención del público y dejó una huella tan marcada, a juzgar por por lo que nos dicen algunos contemporáneos.8 4 Por un contrato de la compañía de Ganassa, publicado por Emilio Cotarelo y Morí («Noticias biográficas de Alberto Naselli, cómico famoso del siglo XVI», RABM, XIX, 1908, pp. 42-61) y por otro, recientemente publicado por Bernardo José García García («La compañía de Ganassa en Madrid (1580-84): tres nuevos documentos», Journal of Hispanic Research, 1, 1992-93, pp. 355-70), conocemos los componentes de la misma en 1581 y 1580, respectivamente. Por un poder de Barbara Flaminia, mujer de Ganassa, para el cobro del dinero de la dote de la actriz, que había depositado en el banco que los Espinóla tenían en Madrid, con motivo de emprender el viaje de regreso a Italia, sabemos la fecha de su partida (idem, pp. 367-69). Para el polémico regreso de Ganassa a España, véase John E. Varey («Ganassa en la península ibérica en 1603», en De los romances-villancico a la poesía de Claudio Rodríguez: 22 ensayos sobre las literaturas española e hispanoamericana en homenaje a Gustav Siebenmann, José Manuel López de Abiada y Augusta López Bernasocchi, eds., Madrid, José Esteban, 1984, pp. 455-62) y Jaime Sánchez Romcralo («El supuesto retorno de Ganassa a España», Quaderni Ibero-Americani, 67-68, 1990, pp.121-133). 5 Cfr. Bernardo José García García, «La compañía de Ganassa en Madrid (1580-84): tres nuevos documentos», art. cit., p. 361. 6 Cfr. José Sánchez Arjona, Noticias referentes a los anales del teatro en Sevilla desde Lope de Rueda hasta fines del siglo XVII, Sevilla, E. Rasco, 1898, pp. 49-59; Cristóbal Pérez Pastor, Nuevos datos acerca del histrionismo español en los siglos XVI y XVII. Segunda Serie publicada con un índice por Georges Cirot, Burdeos, Péret et Fils, 1914, p. 3. 7 John Falconieri, quien ha escrito el ensayo, hasta el momento, más importante sobre la commedia dell'arte en España, se lamentaba de que «ninguno de los scenari por él utilizados nos son conocidos, como tampoco menciones detalladas que pudieran revelar elementos estilísticos, teatrales o técnicos de su arte» («Historia de la Commedia dell'arte en España», art. cit., p. 33). Juan Oleza se manifiesta de un modo parecido: «¿Pero representaron "commedia dell'arte" en las numerosas incursiones que realizaron en el teatro privado?, y, ¿todo lo 'que representaron en los corrales fueron espectáculos "all" improvvisa"?» («Hipótesis sobre la génesis de la comedia barroca y la historia teatral del XVI», en Teatros y prácticas escénicas I. El Quinientos valenciano, Juan Oleza y Manuel V. Diago, eds., Valencia, Institució Alfons el Magnanim-Diputació de Valencia, 1984, p. 29). ° Ottonclli, por ejemplo, decía de Zan Ganassa que fue a España «con una compagnia di comici italiani e cominció a recitare all'uso nostro: e se bene egli, como anche altro suo compagno, non era bene inteso, nondimeno con quel poco che s'intendeva, faceva ridere consolatamente la brigata; onde guadagnó molto in quella città, e dalla pratica sua impararono poi gli spagnuoli a fare le commedie all'uso ispano, che prima non facevano» (Giovan Domenico Otonelli, Delta Christiana Moderatione del Theatro (Livro ¡I, detto la Solutione EL ZIBA LDON E DE STEFANELLO BOTTARGA 121 Ahora bien, parte de estas incógnitas quizás las ayude a desvelar el descubrimiento, muy reciente, de un códice que se conserva en la Biblioteca del Palacio Real de Madrid. Se trata del ms. 11-1586 {olim 2-B-10), en 4o (200 x 145 mm), con letra humanística del XVI, en italiano y español, de una única mano y no siempre de fácil lectura. La encuademación es del siglo XIX, en pastas valencianas con hierros dorados en orla de los planos, lomos y cantos, sin hojas en blanco, salvo las del papel de aguas de las guardas. Presenta una foliación moderna a lápiz a partir del primer folio escrito (ff. 1- 127), en la cual, se han cometido un par de errores al repetir la numeración (ff. 92 y 108). Se conserva en general en buen estado, aunque la encuademación actual ha mutilado parte del último renglón de cada folio y el f. 118 está deteriorado por una quemadura. En el tejuelo, con letras de oro, dice: POESÍAS VARIAS. En el último folio (127v) podemos leer debajo de un alfabeto griego y en esos mismos caracteres el nombre del que quizás fuera su autor: ABAGARO. Poco antes ((. 125v), al principio de unas cuentas, encontramos también una fecha: «a di 6 maggio 1580». Y, de hecho, por estudios anteriores sobre el teatro en España en el siglo XVI,? se tiene noticia de la existencia en la década de los ochenta de un tal Abagaro Francesco Baldi o Valdés, autor de comedias, que podría haber sido el mismo actor que encarnara la máscara de Stefanello Bottarga en la compañía italiana de Alberto Naselli. Un documento, publicado en 1993 por Bernardo José García García y al que hemos aludido en la nota 4, supra, confirma esta hipótesis. En él aprendemos, por una escritura para la constitución de la compañía de Ganassa hecha en Madrid el 13 de marzo de 1580, que, en esta fecha, actuaban en la célebre compañía nueve cómicos italianos: Alberto Naselli, alias Ganassa, capocomico; Barbara Flaminia, Ortensia en el teatro; Vicenzo Botanelli, procurador de la compañía, denominado Curzio Romano; Cesare dei Nobili, que se encargaba de representar el papel femenino de Francesca; Abagaro Fiescobaldi o Francesco Baldi o Valdés,10 de nombre artístico Stefanello Bottarga; Giovan Pietro Pasquarello, alias Trastullo, que se ocupaba junto a Scipione Graselli de la custodia y mantenimiento del hato de la compañía (vestuario y atrezzo) y, por último, otros dos comediantes que recibían una paga menor, que eran Giulio Vigliante y Giaccomo Portalupo, el cual representaba el tercer personaje femenino, de' Nodi), capítulo I, punto IX, en Ferdinando Taviani, La Commedia dell'Arte e la società barocca .
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