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COMMEDIA DELL'arte» EN ESPAÑA Some Aspects of «Commedia Deu'arte» in Spain ISSN: 1576-7787 ALGUNOS ASPECTOS DE LA PROYECCIÓN DE LA «COMMEDIA DELL'ARTE» EN ESPAÑA Some aspects of «commedia deU'arte» in Spain Vicente GONZÁLEZ MARTÍN Universidad de Salamanca Fecha de aceptación definitiva: septiembre 2006 RESUMEN: La renovación del teatro en Italia y España en el siglo XVI implicó, entre otras cosas, el afianzamiento del arte escénico en ambos países. Producto de esta situación será el naci­ miento y desarrollo de avances formales y de contenido en el teatro de Italia y España de forma paralela y en direcciones semejantes. Por ello en este estudio, sin desdeñar las aportaciones que las compañías del arte italianas trajeron al teatro español y señalándolas puntualmente, se llega a la conclusión de que se deben rechazar las viejas teorías comparatistas de que la influencia del teatro italiano fue esencial para la creación y desarrollo de un teatro nuevo en España que culminaría con el teatro nacional de los grandes dramaturgos del Siglo de Oro. Aparte de esa línea, se analiza la presencia de la «commedia deU'arte» a lo largo de la literatura española. Palabras clave: commedia dell'arte, teatro, influencia, Lope de Rueda, máscaras. ABSTRACT: Theatrical renovation in Italy and Spain during the 16th century meant the parallel and similar creation and development of formal and content innovations in both coun­ tries. Without understimating the influence of Italian companies in Spanish theatre, this paper argues against the old comparatist theories about the supposedly crucial role played by Italian theatre in the creation and development of the «new theatre» in Spain, which culminated in the work the Spanish Golden Age. The presence of the «commedia deU'arte» in the Spanish literature will also be considered. Key words: commedia dell'arte, theatre, influence, Lope de Rueda, masks. © Ediciones Universidad de Salamanca Rev. Soc. Esp. Ita. 3, 2005, pp. 97-108 98 VICENTE GONZÁLEZ MARTÍN El auge que el género teatral experimentó a lo largo del siglo XVI en Italia y en España significó el afianzamiento definitivo del arte escénico en ambos países, con la creación de un nuevo gusto y de nuevas técnicas que renovarían incluso los aspectos más insignificantes del género. Y ello surge en un período: el siglo XVI, en el que las interrelaciones Italia-España alcanzan su punto más alto, impregnando toda la vida social y cultural de ambos países y especialmente en el campo lingüístico y literario. La literatura petrarquista será el impulso decisivo para la adopción de nuevos metros, ritmos, estrofas y temas a nuestra poesía, generando una floración poética hasta entonces desconocida. La Arcadia de Jacopo Sannazaro abrirá las puertas a toda la novelística arcádica que va desde Jorge de Montemayor a Cervantes y Lope de Vega; la épica ariostesca y tassiana servirán como modelo al caballero cervantino e incluso el disipado ambiente romano será el escenario de La lozana andaluza. Sin embargo, éste no es un flujo de una sola dirección. La sociedad y cultura españolas se proyectan igualmente hacia Italia1. La lengua española se convierte en lengua franca y, como nos dirá Ludovico Ariosto, el español será incluso la lengua de los burdeles, o se superpondrá a la propia lengua italiana en escritores como Luigi Tansillo2. De la misma manera, los literatos españoles viajarán a Italia, conocerán la lengua italiana e incluso realizarán una parte de su producción literaria en este país. En este sentido, y para irnos ciñendo al tema de este estudio, la presencia en Italia de escritores-dramaturgos como Juan del Encina, Torres Naharro, Juan de la Cueva, etc., juega un papel importante para que el desarrollo del género teatral en España corra paralelo al de Italia a partir del primer tercio del siglo XVI. Es en este ambiente de mutuos intercambios en el que se desarrollará el género teatral en ambos países. En Italia, durante el siglo XVI, una buena parte de los escri­ tores compartirán el espíritu clasicista del Renacimiento y se inclinarán hacia la comedia erudita, traduciéndose e imitándose obras del teatro latino que servirán para las representaciones cortesanas. Así, el teatro de Cecchi, Ruzzante, Giraldi, Ala- manni, Decio, Manfredi, etc., que si no fue capaz de transmitir verdaderas emocio­ nes, sirvió sobre todo para rescatar la riqueza del escenario clásico y dar espectacula- ridad a la representación. Paralelamente los ambientes populares -forma de vida, lengua, sentimientos, etc.— irán encontrando su lugar en las farsas y en las comedias rústicas, las cuales lograrán burlar la censura eclesiástica, separar paulatinamente sus representaciones de las festividades religiosas controladas por la Iglesia y fomentar la creación de escenarios propios con la fundación de nuevos teatros. A la dignificación de este tipo de teatro contribuyeron literatos como Giovan Maria Cecchi con obras como Malandrini, La Sciolta...; Gigio Arthemio Giancarli, con La Zingana y los pri­ meros autores-actores como Antonio Molino -«II Burchiello»-, Andres Calmo y Angelo Beolco -«II Ruzzante»—, primer introductor del dialecto en su obra y creador de la figura del «villano»3. Muy en relación con este último tipo de teatro surgirá la «commedia dell'arte», como veremos enseguida. 1 CROCE, B. Spagna nella vita italiana durante la rinascenza. Bari: Laterza, 1949. 2 Cf. GONZÁLEZ MIGUEL, J. G. Luigi Tansillo y España. Ediciones de la Universidad de Sala­ manca, 1980. 3 Cf. D'AMICO, S. Storia del teatro II. Dal Rinascimento al Romanticismo. 5a ed. Milán: Garzanti, 1968; APOLLONIO, M. Storia del teatro italiano, vol. II, 7/ teatro del Cinquecento. Florencia: Sansoni, © Ediciones Universidad de Salamanca Rev. Soc. Esp. Ita. 3, 2005, pp. 97-108 ALGUNOS ASPECTOS DE LA PROYECCIÓN DE LA «COMMEDIA DELL'ARTE» EN ESPAÑA 99 Por su parte, el desarrollo del teatro español a lo largo del siglo XVI no fue muy diferente del italiano, como no lo fue en otros países europeos, ya que en la mayoría de los casos se produce un paso a manifestaciones de teatro popular, más en sintonía con los nuevos tiempos, y, al mismo tiempo, se desarrollarán formas del teatro culto. Durante la primera mitad del siglo XVI el teatro español experimentará, con respecto a la época anterior, un gran avance representado fundamentalmente por obras de autores como Juan del Encina, Torres Naharro y Gil Vicente. El primero es gran conocedor de la cultura italiana que aflora en algunas de sus églogas dramáticas, como en Plácida y Vitoriano, representada en Roma en 1513, y maestro del teatro nacional español4. Torres Naharro, por su parte, es uno de los iniciadores más destacados de la comedia moderna y, no obstante su teatro contenga todavía muchas imperfecciones, revela un avance notable sobre la dramaturgia anterior y, aunque el autor carece del genio poético de Gil Vicente, domina ya la técnica teatral, aportando un diálogo ágil, recursos cómicos interesantes, como la introducción de varias lenguas, y cua­ dros de costumbres vivos. Por otra parte, algunas de sus obras tuvieron gran proyec­ ción en Italia y sirvieron de modelo para escritores italianos, como Pietro Aretino, y españoles, como Jaime de Huete, Agustín Ortiz, Juan Uceda de Sepúlveda, Fran­ cisco Avendaño, etc.5. Con Gil Vicente encontramos la perfecta fusión del mundo medieval con el renacentista. El fijará los caracteres de nuestro teatro y con su amplia obra: autos, comedias, farsas abrirá claramente las puertas al lenguaje popular y a los elementos cómicos. En definitiva, el teatro español con los escritores citados, más otros como Diego Sánchez de Badajoz, amplía su acción dramática, multiplica los temas y las fuentes de inspiración, así como sus recursos y sus formas expresivas, suscitando con ello el interés de reyes y nobles que les abren las puertas de sus palacios, y de un público más popular que exigirá espacios propios para gozar de las representaciones teatrales. La segunda mitad del Renacimiento, que en España coincide esencialmente con el reinado de Felipe II, es un período decisivo para la historia del teatro español. En esta segunda época contamos con la presencia de importantes escritores dentro del género teatral, como Lope de Rueda, Juan de la Cueva, Juan de Timoneda, Martín de Santander, etc. Con ellos culminarán las transformaciones que se inician con el pri­ mer Renacimiento, pasándose de un teatro entendido como diversión exclusiva de los nobles y espectáculo representado sólo en sus palacios por actores que pertenecen a su clase social, a un teatro destinado a todos en general, representado en corrales desti­ nados sólo a representaciones dramáticas y cuyos actores proceden de una serie de 1954; PANDOLFI, V. Nuovi testi e rari: La Commedia dell'Arte. Florencia: Sansoni Antiquariato, 1957- 1959; STÀUBLE, A. La commedia umanistica del Quattrocento. Florencia: Olschki, 1968; Commedia dell'Arte. Milán: Mursia, 1986; FERRONI, G. Ll testo e la scena. Saggio sul teatro del Cinquecento. Milán: Garzanti, 1982; Roscí, M. Ll Cinquecento italiano. Novara: Istituto Geográfico D'Agostini, 1985, etc. 4 Cf. ALIPRANDINI, L. Un dramaturgo en Roma: Juan del Encina. En Nello spazio en el tempo delia letteratura. Roma, 1991, pp. 117-128 y MAZZEI, P. Contributo alio studio delle fonti italiane del teatro di Juan del Encina e Torres Naharro. Lucca: Amedei, 1922. 5 Cf. FROLDI, R. I comici italiani in Spagna. En Origini della Commedia improvvisa o dell'arte. Roma: Edizioni Torre D'Orfeo, 1996, p. 277. © Ediciones Universidad de Salamanca Rev. Soc. Esp. Ita. 3, 2005, pp. 97-108 100 VICENTE GONZALEZ MARTIN compañías que se crean y que empiezan
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