Luigi Giuliani

<div> <p>This article tackles the problem of editing the stage directions from a neo-Lachmannian point of view. After considering the nature of the stage direction a sign within the semiotic nature of the theatrical text, the behaviour of the copyists in the manuscript and printed transmission of the Spanish theatre of the Golden Age is taken into account, in order to analyse those problems that arise in the application of the method in the phase of <i>constitutio textus</i>. Thus, the focus is on four paradigmatic cases: variants stemming from different staging; variants within a <i>recensio cum stemmate</i>; variants in a <i>contaminatio</i>; lack of stage directions either in one-witness traditions or in the archetype.</p> </div>

La edición de las didascalias escénicas es uno de los pasos más delicados de la labor del crítico textual, sobre todo en el caso de las acotaciones del teatro de los siglos XVI y XVII, cuyos textos nos han llegado de manera azarosa en versiones manipuladas por compañías de actores. Este volumen aborda la ecdótica de las didascalias desde distintas perspectivas: la semiótica, la estemmática, la transmisión manuscrita e impresa, la evolución de la escritura dramatúrgica, la historia del teatro, la praxis editorial pasada y presente, la traducción y la mirada comparatista hacia textos del Siglo de Oro español y los teatros nacionales inglés, francés, portugués y holandés.

The contributions that compose this book were presented at the XIV Taller Internacional de Estudios Textuales (Perugia 2018), where different issues related to the transmission of Spanish Golden Age plays and its relevance for modern editing were discussed. The relationship between autograph manuscripts and prompt books, the usus scribendi of professional copyists, the textual variant readings in the transmission of printed texts, the importance of meter for establishing texts and proving authorships, the comparison of Spanish and Anglo-American editing practices, and the adaptation of plays for the modern stage, are all issues addressed by means of case studies that elucidate unexpected angles of textual criticism.El volumen reune las aportaciones que se presentaron en el XIV Taller Internacional de Estudios Textuales (Perugia 2018) y se centran en aspectos de la transmision de los textos teatrales del Siglo de Oro y su reflejo en la praxis ecdotica actual: la relacion entre el aut...

... Steps towards a Particular Concept of Editing Modern Authors 315 Raphaela Veit Avicenna's Canon in East and West: A Long ... Neyt Kathryn Sutherland, Jane Austen's Textual Lives: From Aeschylus to Bollywood 355 Mats Dahlström Per Dahl, Johnny Kondrup and Karsten ...

The English Renaissance Stage: Geometry, Poetics, and the Practical Spatial Arts, 1580-1630, by Henry S. Turner. Oxford and New York: Oxford University Press, 2006. $99.00 (cloth). Reviewer: David GLIMP This past summer I had occasion to observe the construction of the sets in advance of the 2007 season of the Colorado Shakespeare Festival, which takes place in an outdoor theater adjacent to the building housing the University of Colorado's English Department. In late May and early June I frequently paused to watch the carpenters, welders, and other workers configure the space of performance, undertake the otherwise invisible labor that makes possible the dramatic entertainment for which people would soon pay. Henry Turner's fascinating new book argues that in early modern England there are deep connections between poetics, dramatic performance, and what some might consider as the auxiliary labor of craftsmen. To invoke a widely employed distinction which Turner's study compels us to treat as a historical result, an assumed opposition between intellectual and manual work elides the many relations between early modern mechanical arts, poetics, and dramatic practice, especially at the epistemological level. The set of assumptions about the world and how one knows and acts upon it constitutes a shared epistemology that defines what Turner names the "practical spatial arts," a domain that links playwrights, surveyors, carpenters, engineers, military artificers, and others who actively apply geometrical modes of thought. Turner's introductory chapter spells out the polemical dimensions of his work - a general sense that reading plays for the ideology of their themes or intellectual content underdescribes what's going on in any given literary text or performance, obscures the formal dimensions of drama, the concrete way plays make meaning, and the practical epistemological resources upon which they draw to organize action in space. Turner's concern is to show how practical geometry and stage plays share a mode of signification, a "diagrammatic" or (after Pierce) "iconic" way of representing the world that both indicates that world and renders available for thought otherwise imperceptible aspects of reality. This semiotic distinction allows Turner to comprehend and to take seriously the frequent troping of literary production as a form of artisanal craftsmanship, and to explore for example the interrelationships between the two definitions of "plot" in the period, both a technical term within the practical spatial art of surveying and an activity central to the work of playwrights configuring dramatic action on the space of the stage. Part 1 of The English Renaissance Stage establishes the lines of continuity linking poetics and applied geometry. Chapter 2, "Practical Knowledge and the Poetics of Geometry," demonstrates the surprisingly deep connections between mechanical and liberal arts, at the level of university curriculum, of shared epistemological assumptions, and of social networks of intellectual exchange and collaboration between humanists and workmen in trades that put geometry into practice. The most compelling connection - one Turner revisits throughout the book - is the epistemological orientation toward practical deliberation and the analysis of particular circumstances as a prelude to action, an orientation present both in humanist moral philosophy and manuals of practical geometry. Chapter 3 locates these concerns specifically in the realm of poetics through a reading of how Sidney's interest in geometry, and the considerable network of artificers, engineers, and others with whom he associated, inflects Sidney's " ' architectonike" account of poetic activity. Sidney's Defence of Poesie comprehends the poet in terms of his ability to mediate between abstract and particular, to generate knowledge about the world, and to train readers in the Aristotelian ethical discipline of "practical, prudential deliberation" (97) as a precursor to virtuous action. …

This article tackles the problem of editing the stage directions from a neo-Lachmannian point of view. After considering the nature of the stage direction a sign within the semiotic nature of the theatrical text, the behaviour of the copyists in the manuscript and printed transmission of the Spanish theatre of the Golden Age is taken into account, in order to analyse those problems that arise in the application of the method in the phase of constitutio textus. Thus, the focus is on four paradigmatic cases: variants stemming from different staging; variants within a recensio cum stemmate; variants in a contaminatio; lack of stage directions either in one-witness traditions or in the archetype.