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! ! ! ! ! RESEÑAS 97 Bayliss writes that the comedia’s polydiscursive nature destabilizes our ability to interpret its ideology because each author in early modern Spain adapted and blended established forms to suit his or her needs. Using Boccaccio and Cervantes to explain polydiscursive language, Bayliss compares Lope’s Caballero de Olmedo as a work that simultaneously employs multiple registers, but again falls back on containing the female voice. In Sor Juana’s Los empeños de una casa, however, Lope is countered by two distinct heroines, Leonor, who desires to conform to social expectations, and Ana, who rejects social norms and uses courtly language for excitement and personal gratification. In conclusion, this volume is not exclusively a study of the comedia, but rather an insightful analysis of the courtly love language that has influenced literature for centuries and of how seventeenth-century playwrights engaged in its discourse. Furthermore, Bayliss’s attention to early modern women playwrights who are largely neglected by critics constitutes a significant contribution to early modern scholarship. While his arguments linking specific medieval romances to the comedia genres are quite convincing on thematic and linguistic levels, Bayliss’s position that dramaturgas used a trobairix tenso style of engagement to respond to Lope and Calderón could be further supported with more direct historical evidence linking Zayas, la Cueva y Silva, and Sor Juana to the comedias with which the book argues they are engaging. Still, this meticulously researched book is grounded in a solid theoretical framework and Bayliss’s impressive expertise in both medieval European and early modern Spanish literature makes this book a welcomed read. Carl Austin Wise University of Georgia Ferrer Valls, Teresa, ed. Diccionario biográfico de actores del teatro clásico español (DICAT). Kassel (Germany): Edition Reichenberger, 2008. CD-ROM + accompanying book, 48 pp. ISBN: 978-3-937734-62-0. The research team led by Teresa Ferrer at the University of Valencia has presented Hispanists with an extraordinary new tool with which 98 Reviews ! ! ! ! ! to explore the complex social landscape of the Spanish theater from circa 1540 to the early eighteenth century. Her primary collaborators were Verónica Arenas, Josefa Badía, Mimma De Salvo, Alejandro Gadea, Alejandro García Reidy, Anna Giordano, Dolores González, Dolores Noguera, Maite Pascual, and Francisco Sáez Raposo. Arturo Silvestre designed the attractive, user-friendly platform. The names of other consultants and collaborators are listed in the accompanying booklet. Working together for fifteen years, Ferrer’s team compiled and edited 4,737 biographical entries to illuminate the careers of men and woman who worked in the professional theater. In addition to actors, they include company directors (autores), ticket takers, wardrobe specialists and others. An appendix “La práctica escénica en imágenes,” gathers images and videos that illustrate performance spaces, lighting, and stage props. Another appendix, “La fundación de la Cofradía de Nuestra Señora de la Novena,” transcribes the founding document of the actors’ confraternity formed in 1634. Though the CD-ROM’s design allows for intuitive navigation from entry to entry, the reader will gain important insights by beginning with the concise accompanying booklet. There, Ferrer describes the project, honors the scholars who inspired and initiated it, outlines the team’s research methods, and provides suggestions for search strategies. She first pays homage to John Varey, who planted the seed for the project in an essay published in a 1988 festschrift for Simón Díaz. There, he had envisioned a reference tool that would gather data about the lives and work of theater professionals dispersed in three pivotal sources: the eighteenth-century manuscript, Geneología, origen y noticias de los comediantes de España, which he and Shergold had published in 1985; Pérez Pastor´s Nuevos datos para la historia del histrionismo; and Rennert’s “List of Spanish Actors and Actresses.” An initial project launched at the University of Valencia by the late Amelia García-Valdecasas to combine these three sources and to correct errors expanded, under Ferrer’s leadership, to the team’s compilation of almost 300 documentary sources. In distilling these sources into the different entries, the editors corrected errors where reliable evidence allowed. But...


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pp. 97-102
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