Serena Provenzano

Acercamiento a la hipotética puesta en escena de Dicha y desdicha del juego y devoción de la Virgen de Ángela de Azevedo a través de su reconstrucción virtual

Introduction

Acercamiento a la hipotética puesta en escena de dicha y desdicha del juego y devoción de la virgen de Ángela de azevedo a través de su reconstrucción virtual. Reconstrucción virtual de la puesta en escena de "Dicha y desdicha..." de Ángela de Azevedo (s. XVII). Analiza su concepción escénica y maquinaria teatral.

Abstract

En este artículo se propone un acercamiento a la hipotética puesta en escena de la obra teatral Dicha y desdicha del juego y devoción de la Virgen de Ángela de Azevedo – dramaturga portuguesa que escribió en castellano en la segunda mitad del siglo XVII– por medio de sus acotaciones explícitas e implícitas. Se tratará sobre todo de examinar la concepción escénica de la dramaturga en el momento de la creación y las maquinarias que podrían utilizarse para representar los pasajes más espectaculares. La inclusión de algunas imágenes de reconstrucción virtual de las escenas más representativas permitirán, además, una mejor visualización ideal de su puesta en escena.

Review

This article proposes a compelling and innovative approach to understanding the hypothetical staging of Ángela de Azevedo's 17th-century play, *Dicha y desdicha del juego y devoción de la Virgen*. By meticulously analyzing both explicit and implicit stage directions, the author aims to reconstruct the dramatic vision of this significant, albeit perhaps lesser-known, Portuguese playwright who wrote in Castilian. A key strength highlighted in the abstract is the intention to integrate virtual reconstruction images, which promise to provide a much-needed visual dimension to an otherwise theoretical exercise, making the proposed scenic interpretations tangible and accessible. The methodology described is particularly robust, focusing on the playwright's scenic conception at the moment of creation and the potential use of theatrical *maquinarias* (machinery) to realize the play's more spectacular passages. This approach not only sheds light on Azevedo's individual artistic choices but also contributes broadly to our understanding of Baroque theatrical practices in the Iberian Peninsula, where elaborate stagecraft was paramount. The emphasis on visual reconstruction is a noteworthy strength, as it allows for a more immersive and precise understanding of how such complex scenes might have been brought to life, moving beyond mere textual analysis to a dynamic engagement with the play's performative potential. While highly promising, the abstract hints at a few areas that would benefit from detailed elaboration within the full article. For instance, a discussion of the specific parameters and historical sources underpinning the "virtual reconstruction" – including the theoretical models for the scenic elements, machinery, and spatial conventions – would further strengthen its academic rigor. Additionally, exploring the potential interplay between Azevedo's authorial intent (as gleaned from the directions) and the practical limitations or conventions of 17th-century theater spaces and acting troupes could enrich the analysis. Nevertheless, this study represents an exciting and valuable contribution to Golden Age theater studies, offering a fresh perspective on a significant female dramatist and employing cutting-edge digital humanities tools to illuminate historical performance.

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