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404BCom, Vol. 49, No. 2 (Winter 1997) oscura la información allí ofrecida" xii). No se acepta la Historia de la Literatura Antigua y Moderna, 1815, de Friedrich von Schlegel, ni las Conferencias sobre Arte Dramático y Literatura, 1809-11, de August Wilhelm von Schlegel, por declamar "ciegas alabanzas" que dañaron la imagen de la obra de Calderón, como se observa por los dictámenes de George H. Lewes (11). Se aprueba la Geschichte der Poesie und Beredsamkeit..., de Friedrich Bouterwek (3, 1804, 501-24), que no examina La vida es sueño. Lo mismo ocurre con De la Littérature du Midi de l'Europe, de J. C. L. Simonde — no Sismonde — de Sismondi (6) y con la A History ofSpanish Literature, de James Fitzmaurice-Kelly (43), y se podrían poner otros ejemplos. En el caso de la bibliografía rusa, el trabajo de Jack Weiner "Between Love and Hate: Calderón de la Barca in Tsarist Russia and the USSR (17021984 )," ha sido provechoso (10, 43, 79, 122, 149, 155, 225, 244, 251, 33334 ). La Bibliografia adquiere particular interés en los últimos veinte años debido a la extraordinaria profusión de estudios sobre Calderón. La perspicaz y fina mentalidad del prof. Ara merece elogio por la intrínseca dedicación, pues construye un útil instrumento de trabajo para la especialización en este campo. Completan el volumen tres índices (revistas y publicaciones periódicas; títulos; autores, editores y traductores). A. Julián Valbuena-Briones University ofDelaware The Calderonian Stage Body and Soul. Editor Manuel Delgado Morales. Lewisburg: Bucknell University Press; London: Associated University Presses, 1997. Cloth. 288pp. $43.50. It is easy for the student of seventeenth-century literature to focus attention on dramatic works as purely literary creations, losing sight of the fact that they were originally written to be performed on stage. As John Varey and others have striven to recall readers to the production side of the equation , an understanding oftheater construction and stagecraft from the period adds to our appreciation of the works as something more than texts. The present volume joins the discussion as it seeks to unite the body and soul of the Calderonian stage. In the introduction, the editor differentiates between the body and soul of a work by Calderón. The latter refers to the text in all of its allegorical symbolism and intellectual pyrotechnics. The ideas must be fleshed out in the Reviews405 physical space of the theater, utilizing the actions of the actors, and, at times, the imaginative employment of machinery (tramoyas) to embody them to the delight and enlightenment ofthe audience. Since so much of Calderón's work is devoid of specific stage direction or even detailed renderings ofhow the space with the corral was to be used for a particular production, it remains for the historian of drama and the astute reader to reconstruct the theatrical setting. This is precisely what the authors of the essays that comprise this book set out to do for specific plays within the Calderonian corpus. They do so under three broad sub-divisions entitled "Poetry and Performance," "Embodying the Sacred," and "Spaces for Women's Wit." In the first group, Antonio Carreno examines the "poetics of closure in Calderón's plays," in which he maintains that the first and last scenes ofany theatrical piece "give shape to its structure, its tone, and the dramatic pace of its characters; at the same time, these scenes are the keys to the success or the failure of the staging" (25). Basing his analysis on a number of Calder ón's plays, he differentiates between the physical space described in the final scenes and the psychological space inhabited by the characters as a summary ofboth symbolic and actual worlds presented in the work. Shirley Whitaker utilizes historical documents, including eye-witness accounts and engravings depicting the sets, to offer a detailed analysis ofthe staging ofEl mayor encanto, amor on the estanque ofthe Buen Retiro palace. This study provides an interesting contrast with Anita Stoll's article on the staging of Los cabellos de Absalon in the confines of the corral. Stoll offers a sceneby...


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