De "teatro primitivo" a "primer teatro clásico"Lucas Fernández y Gil Vicente en las producciones de "Nao d'amores"

Laburpena

Among the most remarkable aspects of the theater in recent times has been the recovery of one the least safeguarded aspects of our intangible cultural heritage: the early Spanish Renaissance theater. In this paper I investigate the motivation, methodology, and system of recovery of the Renaissance comedia, largely neglected in the theatrical world of the twentieth century, by focusing on the reception of two of the most prominent authors of this theatrical model: Gil Vicente and Lucas Fernández. Perhaps the turning point occurred in 2001, when the Nao d'amores Company was founded by director Ana Zamora, undoubtedly one of the luminaries of the contemporary stage. Taking into consideration the biography of the director as reflected in her works, in emulation of what German critics call erlebnis, I will analyze the company's work methodology, the issues raised by this particular theatrical corpus, the appropriation of the most attractive elements from a contemporary reading and their use of puppets on stage. In the process I will trace how the revival of early Renaissance theater is implicated in a process of expanding the canon, initially caused by independent cultural «agents» (to use Pierre Bourdieu's terminology), which were subsequently taken up by academic and governmental bodies.