Publication: De tratados y actores: el modelo francés en las interrelaciones europeas para la formulación teórico-práctica actoral en España (XVIII-XIX)
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2017
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Anagnórisis
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Abstract
Aunque la versión definitiva de La paradoja del comediante se publicó en 1830, las ideas de Diderot se incorporaron por distintas vías al debate sobre la interpretación escénica, rasgo característico del teatro del XVIII. El filósofo enfrentaba los postulados de la sensibilidad y de la razón defendidos en Le Comédien (Sainte-Albine, 1747) y en L’Art du Théâtre (Riccoboni, 1750). Este último tuvo una pronta acogida en España, gracias a las traducciones de Luzán y de J. de Resma. Con los años, las teorías se difundieron en distintos tratados que remiten a fórmulas comunes. A esta labor, se unirán, ya en el XIX, las relaciones de los actores –Máiquez, Prieto, Latorre– con sus homólogos extranjeros para incorporar las nuevas modas interpretativas a la escena española.
Although the last version of The Paradox of Acting was published in 1830, Diderot’ ideas were incorporated by diverse ways to the discussion about the acting system, one of the topics of the Enlightenment. The philosopher confronted the sensitive with the rational approaches, that were explained in Le Comédien (Sainte-Albine, 1747) and in L’Art du Théâtre (Riccoboni, 1750). The last one had a quick and good reception in Spain, thanks to the translations by Luzán and J. de Resma. In the course of time, these theories spread across different treatises on acting, that refer to common formulas. In the XIX century, this theoretical labour will be completed with the relationship between some actors –Máiquez, Prieto, Latorre– and their foreign counterparts to incorporate new acting styles to the Spanish stage.
Although the last version of The Paradox of Acting was published in 1830, Diderot’ ideas were incorporated by diverse ways to the discussion about the acting system, one of the topics of the Enlightenment. The philosopher confronted the sensitive with the rational approaches, that were explained in Le Comédien (Sainte-Albine, 1747) and in L’Art du Théâtre (Riccoboni, 1750). The last one had a quick and good reception in Spain, thanks to the translations by Luzán and J. de Resma. In the course of time, these theories spread across different treatises on acting, that refer to common formulas. In the XIX century, this theoretical labour will be completed with the relationship between some actors –Máiquez, Prieto, Latorre– and their foreign counterparts to incorporate new acting styles to the Spanish stage.
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Tratados de declamación, Diderot, Riccoboni, Sainte-Albine, Máiquez, Teatro, Literatura
Bibliographic citation
Anagnórisis. Revista de investigación teatral. N. 15 (2017), pp. 388-418