Lo fingido verdadero. Acting is Believing (review)

Reviews123 (págs. 146-161) indica lo que el editor de comedias puede aprender de las acotaciones escénicas. Interpretándoles bien se puede determinar si el texto dramático que se edita fue escrito para una representación en los corrales o destinado a ser representado en uno de los teatros de la corte con sus aparatos escenográficos. Digno de ser utilizado será tambi én el amplio material sobre las distintas compañías, sobre las representaciones en los corrales y en los teatros de la corte, así como las relaciones hechas por viajeros extranjeros y cronistas españoles. Editing the comedia es una lectura indispensable para cada uno que intente editar un texto dramático del teatro clásico español. No sólo se dará cuenta de los problemas, sino al mismo tiempo recibirá buenos consejos, y en abundancia, que le ayudarán a resolver sus problemas. Kurt y Roswitha Reichenberger Lope de Vega. Lo fingido verdadero. Acting is Believing. Michael D. McGaha, Translator. San Antonio: Trinity University Press, 1986. Cloth or Paper. 103 pp. $16.95 cl., $9.95 paper. During the last few years, a growing number of translations of lesser known Spanish Golden Age plays have appeared on both sides of the Atlantic. Kenneth Muir and Ann L. McKenzie, Don Cruickshank and Sean Page, are among the best-known translators. Trinity University Press has assumed a leading role in publishing new translations using the expertise of David Gitlitz, Matthew Stroud and now Michael D. McGaha. In this latter venture into the field of translation, we are presented with a fine version of Lope de Vega's Lo fingido verdadero. Although many outside the field of the comedia may not know this play, McGaha argues that it is ideally suited to serve as an introduction to this Spanish playwright: "It is at once a manifesto of Lope's dramatic theory, an invaluable documentary record of Spanish theatrical practice in his time, an embodiment of the playwright's most deeply held views on such important topics as religion and politics, and, above all, a superb example of his dramatic craftsmanship" (p. 3). McGaha's introduction is a model of succinctness, readability and accuracy. It is truly a fine introduction to the comedia, to the playwright and to a play that he sees as an ideal introduction to Lope's art. A lively and up-to-date biography is followed by a brief description of the plot which includes insightful comments on the notion of role-playing, key to 124BCom, Vol. 40, No. 1 (Summer 1988) an interpretation of Lo fingido verdadero. After considering the date of composition, McGaha goes on to discuss dramatic theory as reflected in the play, for Lope here departs from tradition by making Genesius, the lead character, a playwright as well as an actor. His pronouncements on theory parallel and even paraphrase, according to McGaha, Lope's Arte nuevo. Turning to the historical background of the play, the translator is able to discuss at length the political implications of the work. He claims that: "Not content with attacking the divine right of kings, the play even calls into question the very principle of hereditary monarchy" (p. 33). This is an assessment that should be taken into account in the debate between those who see Lope as protagonist for the existing regime and those who would move away from such a view explaining that his plays embody the tensions and contradictions inherent in his society. A selective bibliography follows the introduction. The translation itself is mainly in prose except for sonnets and songs. It is a vigorous and lively translation written with an eye on a contemporary audience who may wish to see it performed. It is produced in a clear style and crisp language that makes reading easy without sacrificing accuracy. There are occasions when the vigor and modernity of the translation obscures the grace and subtlety of the original, but these are few. For example, McGaha's "Your Spanish-style puns are a pain in the ass" (p. 51) does not convey the mood of the original: "Bravamente nos fatigas / con hablar a la española." As for the puns, McGaha...