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Juan De La Cueva Y El Nacimiento Del Teatro Histórico En España

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Juan De La Cueva Y El Nacimiento Del Teatro Histórico En España JUAN DE LA CUEVA Y EL NACIMIENTO DEL TEATRO HISTÓRICO EN ESPAÑA - 1 - - 2 - Tesis Doctoral UNIVERSIDAD DE SALAMANCA DEPARTAMENTO DE LITERATURA ESPAÑOLA E HISPANOAMERICANA JUAN DE LA CUEVA Y EL NACIMIENTO DEL TEATRO HISTÓRICO EN ESPAÑA Doctorando: FCO. JAVIER BURGUILLO LÓPEZ Tesis doctoral dirigida por el Dr. D. Miguel M. García- Bermejo Giner, presentada en el Departamento de Literatura Española e Hispanoamericana, Facultad de Filología, Universidad de Salamanca. Vº Bº. El Director de la Tesis El Doctorando Fdo.: Miguel M. García-Bermejo Giner Fdo.: Fco. Javier Burguillo López 2010 - 3 - - 4 - UNIVERSIDAD DE SALAMANCA DEPARTAMENTO DE LITERATURA ESPAÑOLA E HISPANOAMERICANA JUAN DE LA CUEVA Y EL NACIMIENTO DEL TEATRO HISTÓRICO EN ESPAÑA Doctorando: Fco. Javier Burguillo López Director: Dr. Miguel García-Bermejo Giner 2010 SALAMANCA - 5 - - 6 - A mis padres, Javier y María Teresa - 7 - - 8 - ÍNDICE PRESENTACIÓN Y OBJETIVOS ...................................................................................... 17 PRIMERA PARTE VIDA Y ESCRITOS DE JUAN DE LA CUEVA ¶ CAPÍTULO UNO. EL ESCRITOR Y SU ENTORNO CULTURAL .................................. 31 1.1. Semblanza literaria ................................................................................................. 31 1.1.1. Infancia y juventud ........................................................................................ 31 1.1.2. La aventura americana .................................................................................. 32 El cancionero Flores de baria poesía .................................................................. 32 1.1.3. De vuelta a Sevilla: intensa labor literaria .................................................. 35 La antología impresa de 1582 ......................................................................... 35 La traducción de Ravisius Textor .................................................................. 37 Entre amigos y enemigos ................................................................................ 38 1.1.4. Madurez y fallecimiento ............................................................................... 41 La Conquista de la Bética ..................................................................................... 42 Los años finales ................................................................................................ 46 1.1.5. La recolección manuscrita de su producción literaria ............................. 47 Primer códice .................................................................................................... 47 Segundo códice ................................................................................................. 48 Copias diversas ................................................................................................. 51 1.1.6. Obras perdidas ............................................................................................... 51 1.2. El contexto cultural sevillano ............................................................................... 55 1.2.1. Una ciudad y un tiempo precisos ................................................................ 55 1.2.2. El humanismo sevillano ............................................................................... 56 Primera mitad del siglo. Algunas noticias ..................................................... 56 Segunda mitad del siglo. Humanistas destacados ........................................ 58 El programa estético-político de Mal Lara ................................................... 60 1.2.3. De las academias al Libro de retratos ............................................................. 63 1.2.4. El retrato de Juan de la Cueva ..................................................................... 68 - 9 - ¶ CAPÍTULO DOS. EL TEATRO DE JUAN DE LA CUEVA ........................................... 79 2.1. El panorama dramático finisecular ..................................................................... 79 2.1.1. Los caminos del teatro prelopista ................................................................ 79 2.1.2. La generación teatral de 1580 ....................................................................... 80 La Biblioteca del conde de Gondomar ............................................................ 83 La tragedia prelopista .......................................................................................... 84 El Madrid teatral de Cervantes y Lasso de la Vega ........................................ 88 El grupo valenciano ............................................................................................ 90 2.1.3. La renovación teatral finisecular. Balance final ......................................... 91 Breves notas sobre el Ejemplar poético ................................................................ 92 2.2. El teatro en sus libros ............................................................................................ 94 La edición de 1583 .............................................................................................. 94 La edición de 1588 .............................................................................................. 94 Una tercera edición y la Segunda parte de las comedias y tragedias ...................... 95 Una tragedia fantasma ........................................................................................ 96 La edición de 1603 .............................................................................................. 96 Teatro para leer .................................................................................................... 98 2.3. El teatro de Juan de la Cueva ............................................................................... 100 2.3.1. Precedentes sevillanos ................................................................................... 100 2.3.2. Los años de representación .......................................................................... 101 2.3.3. Las piezas de Cueva ....................................................................................... 104 Propuestas de clasificación tradicionales ......................................................... 104 Los macrotipos «drama» y «comedia» .............................................................. 106 Una nueva propuesta de clasificación .............................................................. 108 2.3.4. Breve presentación del contenido de las piezas ......................................... 110 Piezas «a noticia». Breve presentación ............................................................. 110 Piezas «a fantasía». Breve presentación ............................................................ 114 ¶ CAPÍTULO TRES. EL TRASFONDO POLÍTICO DE LOS DRAMAS FINISECULARES 121 3.1. La interpretación política de los dramas de Juan de la Cueva ........................ 121 3.1.1. La monografía de Anthony Watson ............................................................ 122 La sucesión de Portugal: de la Historia a la crítica literaria ........................... 123 Críticas a la anexión de Portugal ....................................................................... 129 La oposición sevillana ......................................................................................... 132 La interpretación política de los dramas de Cueva ........................................ 135 Balance final ......................................................................................................... 138 3.1.2. Documentos sevillanos sobre la guerra de Portugal ................................. 139 3.2. La interpretación política de los dramas finiseculares ...................................... 145 3.2.1. El nuevo horizonte crítico ............................................................................ 145 - 10 - 3.2.2. El caso de La gran Semíramis .......................................................................... 146 3.3. Dos puntos de partida ........................................................................................... 150 3.3.1. El influjo de Séneca y los trágicos italianos ................................................ 150 3.3.2. La teoría del poder en el Renacimiento ...................................................... 152 SEGUNDA PARTE CLAVES DE UN PROGRAMA CULTURAL ¶ CAPÍTULO CUATRO. EL ROMANCERO HISTÓRICO ................................................ 159 4.1. Los romances de Juan de la Cueva ..................................................................... 161 4.1.1. El Coro febeo de romances historiales, 1587-1588 .............................................. 161 Descripción material y del contenido ............................................................... 161 Diseño editorial ................................................................................................... 166 Un lugar para el Coro en el panorama editorial ............................................... 167 El sentido macrotextual de la colección .......................................................... 169 Romances sobre la mitología clásica y la Historia Antigua ........................... 172 Romances sobre la historia legendaria de Castilla .......................................... 178 El Valerio de las historias y el Coro febeo ............................................................... 205 Romances no historiales ..................................................................................... 208 4.1.2. El Segundo coro febeo de romances historiales
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