Publication: Proxemia y espacio dramático en el teatro pastoril del primer Lope de Vega
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2016
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Universitat Autònoma de Barcelona
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Abstract
En el presente trabajo se analiza el modo en el que Lope de Vega se sirve de la proxemia a la hora de (re)crear el espacio dramático en el que transcurren los argumentos de sus primeras comedias pastoriles. El empleo que los actores hacen de las distancias en el escenario, unido a la gestualidad y el sonido (a veces real, a veces referido), evoca en la imaginación del espectador un espacio que, por otra parte, le es familiar, aunque sea conceptualmente, ya que son piezas pertenecientes a un género completamente codificado. Asimismo, el dramaturgo parece combinar estos efectos multisensoriales con el recurso a técnicas pictóricas, empleadas de manera destacada en el paisajismo, para crear una sensación de profundidad y perspectiva escénicas con las que seducir la mente del público. Aunque se prestará atención especial al empleo de estos recursos a la hora de (re)crear los espacios rústicos o naturales, por ser los primordiales, no se olvidarán los civiles o aldeanos, a pesar de que resultan anecdóticos en los argumentos de las obras analizadas.
In this paper I analyze the way in which Lope de Vega uses proxemics when (re)creating the dramatic space where he locates the different plots of his early pastoral dramas. The way actors use distances onstage, combined with gestures and sound (sometimes real, others times referred) evokes in the audience's imagination a place that sounds familiar to them, maybe only conceptually, as we are dealing with a totally codified genre. Other than that, the playwright seems to combine these multisensorial effects with the use of pictorial techniques, prominently employed in landscape painting, in order to create a sense of spatial depth and stage perspective to seduce the mind of the audience. Even though I pay special attention to the use of all these resources when (re)creating rustic and natural locations, essential in these plays, civilian and village locations are also mentioned, even though they are incidental in the plots of the plays analyzed.
In this paper I analyze the way in which Lope de Vega uses proxemics when (re)creating the dramatic space where he locates the different plots of his early pastoral dramas. The way actors use distances onstage, combined with gestures and sound (sometimes real, others times referred) evokes in the audience's imagination a place that sounds familiar to them, maybe only conceptually, as we are dealing with a totally codified genre. Other than that, the playwright seems to combine these multisensorial effects with the use of pictorial techniques, prominently employed in landscape painting, in order to create a sense of spatial depth and stage perspective to seduce the mind of the audience. Even though I pay special attention to the use of all these resources when (re)creating rustic and natural locations, essential in these plays, civilian and village locations are also mentioned, even though they are incidental in the plots of the plays analyzed.