The student must be able to express himself correctly both orally and in writing. For this reason, any spelling and expression errors that you may commit will lead to a decrease in the score in the final grade.
										
											
										
											The activities, practices and works presented in the course must be original and, under any circumstances, total or partial plagiarism of external materials published in any medium will not be admitted. The eventual presentation of non-original material without properly indicating its origin will automatically result in a failure rating (0).
										
											
										
											Likewise, it is considered that the student knows the general norms of presentation of an academic work. However, you can apply the specific rules that the teacher of the subject may indicate, if you deem it necessary.
										
											
										
											For the first block, a basic knowledge of the history of the Golden Age theater and the reading of at least some representative texts of the same is considered essential, such as a work by Lope de Vega, Tirso de Molina or Calderón (Fuenteovejuna, El caballero de Olmedo, Don Gil de las calzas verdes or La vida es sueño, for example). Students who do not have this base are encouraged to read Ignacio Arellano's book and at least one of the works just mentioned in one of the editions recommended in the bibliography. 
For the second block it is essential to read at least one picaresque novel (for example, El Guzmán de Alfarache, La Pícara Justina, El Buscón, Marcos de Obregón, Estebanillo González) in addition to La vida de Lazarillo de Tormes. Likewise, the student must have basic knowledge about the historical context of the Spain of the Golden Age and the methodology of text commentary (to complete their knowledge and skills, the student can consult the works referenced in the bibliography).

In order to show the student two different processes of literary transmission, the module offers two blocks that will address texts of the same genre, dramatic literature, but in two different periods. 
In the first case, the one dedicated to the theater of the Spanish Golden Age, the genre will be analyzed as a historical and documentary asset with a temporal continuity that reaches our days. In the second case, the study of contemporary Spanish and Latin American dramaturgy and the staging of dramatic texts, aims to bring the student closer to the performative dimension of the theatrical text and the translation of the word to the scene, paying special attention to the literary tradition and contemporary rewritings of the classics of the Golden Age.

In the case of block I, the course is conceived as a presentation of the Teatro del Siglo de Oro as a historical and documentary heritage asset, both immaterial (in aesthetic terms and of an unrepeatable reality that has already passed, since the essence of the theater is its representation) and material (to the extent that we know this historical reality through a series of documents that are precisely those that allow us to reconstruct it). Stricto sensu the theater of the Golden Age as a reality lived in the time in which it was created and performed, it left never to return. But the documentary wealth, from the handwritten or printed texts of the plays, to the legal and censorial documents, the rules that governed the "corrales de comedias" where it was performed, the documentation on theater companies, which is still preserved today and that allows us to reconstruct it, although not totally, but partially, is of such variety and abundance that we can glimpse and get an idea of the richness, wonder and importance, in its own moment, of this literary, historical, social and cultural phenomenon. A phenomenon that, with greater or lesser fortune, survived over the centuries and that brought the Spanish theater from Madrid toAmsterdam, where Lope was seen more than any other Dutch author, and not only to Amsterdam, but also to Paris, Germany, and Denmark. or to Lithuania. Or that he caused pre-revolutionary choirs to be sung after Fuenteovejuna's performance when it was performed in Moscow in 1870. That poets such as Goethe or Federico García Lorca would notice and inspire him. This is how a cultural richness and a literary tradition that continues to this day was born and survived. Our object of attention will be multiple from literary authors and texts to theater companies and representations; from copyists of manuscripts or the role played by printers, to translations, recasts, adaptations and versions; from the influence of the evolution of aesthetic ideas to the political instrumentalization of the theater. And from the premiere at the time or a representation of the time in Alcorcón to the classical theater festivals or the National Classical Theater Company or the premiere in Tokyo in the 21st century, as a reality fully alive at the time, and alive today. The entire course will also be guided by a constant observation of the richness and digitization procedures of our bibliographic and cultural heritage.

In block 2, the tradition of picaresque literature in the Hispanic world will be studied, from its birth (Lazarillo de Tormes) to its epigones in Spanish and Latin American literature, without forgetting its reception in other countries and its influence on other literatures. The historical and literary context of the emergence of the genre in Spain, its precursors and influences (folklore, fabliaux, satire, etc.), the generic characteristics of picaresque literature, its evolution and "derived products" (imitations, continuations) will be examined. Some of the great milestones of picaresque literature (Lazarillo, El Buscón, Guzmán de Alfarache, Marcos de Obregón) will be analyzed and philological comments will be made on some fragments of these works and on other fragments collected in an anthology.

BLOCK I.
										
											THE THEATER OF THE GOLDEN CENTURY: A LIVING TRADITION AND A HERITAGE AND DOCUMENTARY PROPERTY1. Previous considerations. Critical construction and historical reality. The digitization of heritage and history.
										
											
										
											2. The birth of the new comedy. The union, the theatrical business, its regulation.
										
											
										
											3. The performance spaces: the "corral de comedias". Virtual reconstruction.
										
											
										
											4. Lope de Vega: the autograph manuscripts. The publishing business of Comedy Parts.
										
											
										
											5. The new comedy. Lope cycle and Calderón cycle.
										
											
										
											6. The spaces of representation: the court. The apparatus theater. Lope and the new birds. Calderón and his cycle.
										
											
										
											8. The survival of classical theater. Beyond its time and its borders.
										
											
										
											9. Two great milestones: the myth of Don Juan and Fuenteovejuna.
										
											
										
											10. Imitations, adaptations, recasts ... Reverberations.
										
											
										
											11. Federico García Lorca and La barraca. The pedagogical missions. Alejandro Casona. The theater at war.
										
											
										
											12. The theater of the Golden Age in the 20th century. The National Classical Theater Company and the theater festivals.
										
											
										
											13. The theater of the Golden Age in the digital age. Representation, research and digital media.
										
											
										
											14. The theater of the Golden Age: canon and extension of the repertoire.

BLOCK II.
										
											
										
											THE PICARESQUE LITERARY TRADITION IN SPAIN: LEGACY, DEVELOPMENTS AND INFLUENCE
										
											
										
											 1. Lazarillo de Tormes and the birth of the genre. Historical and literary context.
										
											
										
											 2. Previous influences, legacies and traditions.
										
											
										
											 3. General characteristics of the picaresque genre.
										
											
										
											 4. Evolution of the genus (I): from Lazarillo de Tormes to Estebanillo González.
										
											
										
											 5. Milestones of the picaresque novel (Lazarillo, El Buscón, Guzmán de Alfarache, Marcos de Obregón)
										
											
										
											 6. Evolution of the genre (II): The “second picaresque”. feminine picaresque. Picaresque traits in the literature of the Golden Age.
										
											
										
											 7. Imitations and continuations.
										
											
										
											 8. Legacy of the picaresque in contemporary Spanish and Latin American literature.
										
											
										
											 9. Reception of Spanish picaresque in other territories (translations and imitations, etc.) and foreign picaresque literature.

Véase la información en la versión en español.

The evaluation of the subject will be made from a monographic work (100% of the grade), previously agreed with the teachers, which will deal with the Golden Age or contemporary theater, and its staging.
										
											
										
											The following considerations should also be taken into account:
										
											
										
											- The course readings are compulsory.
										
											
										
											- The student must obtain a final grade equal to or greater than 5 to pass the course.

Bibliography

BLOCK I:

Propedeutics:

All students are considered to have taken a course in their career where attention has been paid to the theater of the Golden Age. Those who consider that their knowledge might not be sufficient can read Ignacio Arellano's book:

Ignacio Arellano, Historia del teatro español del siglo XVII, Cátedra, Madrid, 2005.

In the current circumstances, the most prudent option could be to buy it in a bookstore or those who live abroad online. All students are considered to have read in a good annotated edition (editorials Cátedra, Crítica, Castalia) at least one of the following works:

 Lope de Vega, Fuenteovejuna, El caballero de Olmedo (ed. Francisco Rico), El castigo sin venganza (ed. Alejandro García Reidy), Tirso de Molina, Don Gil de las calzas verdes; Pedro Calderón de la Barca, La vida es sueño (ed. Evangelina Rodríguez Cuadros or José María Ruano de la Haza).

These works can also be translated for foreign students, but only if these translations are accompanied by clarifying notes and the corresponding preliminary study or introductory study. There are two editions that are digitalized online and that may be useful for foreign students:

Lope de Vega, Fuenteovejuna, edición del grupo de investigación PROLOPE en colaboración con la compañía Rakatá, PPU, Barcelona, 2009. [enlace]

Lope de Vega, El castigo sin venganza, edición del grupo de investigación PROLOPE en colaboración con Fundación Siglo de Oro, PPU, Barcelona, 2010. [enlace]

Two online editions are offered for students who know the works and editions mentioned so far and who want, freely, to expand their background (it is not mandatory and it is advisable, in this case, to pay attention not only to the work but also to the type of edition and understand the new ways of accessing literary heritage):

Lope de Vega, La dama boba. Edición crítica y archivo digital. Bajo la dirección de Marco Presotto y con la colaboración de Sònia Boadas, Eugenio Maggi y Aurèlia Pessarrodona. PROLOPE, Barcelona; Alma Mater Studiorum - Università di Bologna, CRR-MM, Bologna, 2015. doi:10.6092/UNIBO/LADAMABOBA [enlace]

Lope de Vega, Mujeres y criados. Edición en línea, grupo PROLOPE, ed. Alejandro García Reidy, coord. Ramón Valdés Gázquez y Sònia Boadas, Bellaterra, Grupo de investigación PROLOPE - Universitat Autònoma de Barcelona, 2014. [enlace]

 

Other secondary bibliography:

ÁLVAREZ BARRIENTOS, Joaquín et al., Clásicos después de los clásicos, en Cuadernos de teatro clásico, 5 (1990).

BASTIANES, María, Esther Fernández y Purificació Mascarell (eds.), Diálogos en las tablas. Últimas tendencias de la puesta en escenadel teatro clásico español, Kassel, Reichenberger, 2014.

GARCÍA MASCARELL, Purificación, El Siglo de Oro español en la escena pública contemporánea.La Compañía Nacional de Teatro Clásico (1986-2011), tesis doctoral en línea leída dirigida por Teresa Ferrer y presentada en la Universitat de València, 2014. [enlace]

GARCÍA SANTO-TOMÁS, Enrique, La musa refractada: literatura y óptica en la España del Barroco, Madrid, Iberoamericana, 2015.

HUERTA CALVO, Javier (coord.), Historia del teatro español, Madrid, Gredos, 2003.

PAULINO, José, y Mar ZUBIETA, La Generación del 27 lee, escribe y representa a los clásicos, en Cuadernos de teatro clásico, 26 (2010).

RODRÍGUEZ GARCÍA, Eva, La puesta en escena de Lope de Vega, tesis doctoral, Universidad de Oviedo, 2014. Disponible en: http://hdl.handle.net/10651/25565

RUANO DE LA HAZA, José María, La puesta en escena en los teatros comerciales del Siglo de Oro, Madrid, Castalia, 2000.

VEGA, Lope de, Arte nuevo de hacer comedias, Felipe B. Pedraza y Pedro Conde Parrado (ed.), Cuenca, Universidad de Castilla-La Mancha, 2016.

WHEELER, Duncan, Golden Age Drama in Contemporary Spain. The comedia on page, stage and screen, Wales, University of Wales Press, 2012.

 

BLOCK II.

 

BLOQUE II.

Throughout the course anthologies of texts and a specific bibliography of the works and topics studied will be provided.

 

Editions of picaresque novels

 ALEMÁN, Mateo, Guzmánde Alfarache, ed. Luis Gómez Canseco, Madrid, RAE, 2012.

 ALEMÁN, Mateo, Guzmán de Alfarache, ed. Pierre Darnis, Madrid, Castalia, 2015.

 ALEMÁN, Mateo, Guzmán de Alfarache, ed. José MaríaMicó, Madrid, Cátedra, 1987.

 CASTILLO SOLORZANO, Alonso de, Las aventuras del bachiller Trapazas en La novela picaresca española, ed. Angel Valbuena Prat, Madrid, Aguilar (existen distintas eds.).

CORTÉS DE TOLOSA, Juan, Lazarillo de Manzanares, ed. Giuseppe Sansone, Madrid, Espasa Calpe, 1974.

La Vida y hechos de Estebanillo González, eds. Nicholas Spadaccini y Anthony N. Zahareas, Madrid, Castalia, 1978. 

La Vida y hechos de Estebanillo González, eds. Antonio Carreira y Jesús Cid, Madrid, Cátedra, 1990.

 Lazarillo de Tormes, ed. Francisco Rico, Madrid, Cátedra (existen distintas eds.).

 LÓPEZ DE ÚBEDA, Francisco, La Pícara Justina, ed. Luc Torres, Madrid, Castalia, 2010.

 QUEVEDO, Francisco de, El Buscón, ed. Alfonso Rey, Madrid, CSIC, 2007.

 LUNA, Juan de, Segunda parte de la vida de Lazarillo de Tormes, ed. Joseph L. Laurenti, Madrid, Espasa Calpe, 1979.

 

Historical background

 BENNASSAR, Bartolomé; VINCENT, Bernard, España: los siglos de oro, Barcelona, Crítica, 2000.

 DELEITO Y PIÑUELA, José, La mala vida en la España de Felipe IV, Madrid, Alianza, 2014.

 DÍAZ-PLAJA, Fernando, La vida cotidiana en la España del Siglo de Oro, Madrid, Clío, 1994.

 PÉREZ, Joseph, Historia de España, Barcelona, Crítica (existen distintas ediciones).

 REDONDO, Augustin, Revisitando las culturas del Siglo de Oro: mentalidades, tradiciones culturales, creaciones paraliterarias y literarias, Salamanca, Ediciones Universidad de Salamanca, 2007.

  

Comentary of literary text Methodology

 ALARCOS LLORACH, Emilio, El comentario de textos, Madrid, Castalia (existen distintas eds.)

 LÁZARO CARRETER, Fernando, Cómo se comenta un texto literario, Madrid, Cátedra (existen distintas eds.).

 SUÁREZ MIRAMÓN, Ana; MILLÁN JIMÉNEZ, María Clementa, Introducción a la literatura española: guía práctica para el comentario de texto, Madrid, UNED, 2011.

  

Theoretical Studies on Picaresque Literature

 ALUN, Francis, Picaresca, decadencia, historia aproximación a una realidad histórico-literaria, Madrid, Gredos, 1978.

 BATAILLON, Marcel, Novedad y fecundidad del Lazarillo de Tormes, Salamanca, Anaya, 1968.

 CABO ASEGUINOLAZA, Fernando, El concepto de género y la literatura picaresca, Santiago de Compostela, Universidade de Santiago de Compostela, 1992. [enlace]

 CASAS DE FAUNCE, María, La novela picaresca latinoamericana, Madrid, Cupsa, 1977.

 CRIADO DEL VAL, Manuel, La picaresca: orígenes, textos y estructura: actas del I Congreso Internacional sobre la Picaresca, Madrid, FUE, 1979.

 DARNIS, Pierre, La picaresca en su centro: “Guzmán de Alfarache” y los orígenes de un género, Toulouse, Presses Universitaires du Midi, 2015.

 GEREMEK, Bronislaw, La estirpe de Caín: la imagen de los vagabundos y de los pobres en las literaturas europeas de los siglos XV al XVII, Madrid, Mondadori, 1991.

 IZTUETA GOIZUETA, Miren Garbiñe, Pervivencia de la narrativa picaresca en lengua alemana, inglesa y española, Salamanca, Ediciones Universidad de Salamanca, 2003. [enlace]

 LÁZARO CARRETER, Fernando, Lazarillo de Tormes en la picaresca, Barcelona, Ariel, 1978.

 MEYER-MINNEMANN, Klaus; SCHLICKERS, Sabine, La novela picaresca. Concepto genérico y evolución del género (siglos XVI y XVII), Madrid/Frankfurt am Main, Iberoamericana/Vervuert, 2008.

 PARKER, Alexander Augustine, Los pícaros en la literatura: la novela picaresca en España y Europa, 1599-1753, Madrid, Gredos, 1971.

 REY HAZAS, Antonio, Los deslindes de la literatura picaresca, Málaga, Universidad de Málaga, 2003.

 RESTREPO RAMÍREZ, Santiago, Las comedias de Lope de Vega en el desarrollo del género y la materia picaresca, tesis doctoral, Universitat Autónoma de Barcelona, 2016. [enlace]

 RICO, Francisco, La novela picaresca y el punto de vista, Barcelona, Seix Barral (existen distintas eds).