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• Unos clásicos… ¡de cine! El teatro del Siglo de Oro en el lienzo de plata (1914–1975) by Alba Carmona y Guillermo Gómez Sánchez-Ferrer
• Jeremy Lawrance

THIS IS THE CATALOGUE of an exhibition at Madrid’s Casa Museo Lope de Vega between May and September 2021 on screen adaptations of Golden Age drama from their beginning in 1914 to the death of dictator Francisco Franco in 1975. The authors, members of the Universidad Autónoma de Barcelona’s Grupo Prolope, organized the display, a rich harvest from a score of Spanish, German, and Russian archives of documents (scripts, proposals, censors’ reports), posters, stills, and film clips, including the full screening of Ludwig Berger’s silent Der Richter von Zalamea (52 minutes, 1920), recently restored in the Filmarchiv of the Bundesarchiv in Berlin. The event was accompanied by a program of guided visits, a concert, showings of five of the films in the famous garden of Lope’s house, and an online roundtable. It was an innovative and highly informative initiative that will have illuminated its many visitors.

The exhibits were housed in a single room with some dozen showcases and screens, as readers can appreciate in the online video of the exhibition (www.youtube.com/watch?v=kR2q_7HOklk). The catalogue, however, is a weighty tome of eleven by seven and a half inches; it is far more than a simple listing of the items on display, constituting a detailed analysis of the cultural and political history of the (attempted) popularization of Spanish baroque drama before and during the dictatorship. The introduction explains that it sprang from Carmona’s doctoral research, recently published as Las reescrituras fílmicas de la comedia nueva. Un siglo en la gran pantalla (Peter Lang, 2020). Preceded by a four-page “opening sequence” by Duncan Wheeler (14–17), the text consists of seven chapters in 127 pages, decade by decade, followed by a full and expert English translation by Simon Breden and nine pages of bibliography.

Almost every leaf of the main text is richly illustrated. The 107 high-quality plates, which reproduce all the exhibition’s graphic content, constitute this publication’s major increment compared to the former book, gathered as they are from a multitude of recondite sources that few students of Golden [End Page 91] Age drama will have had the opportunity to explore. The film stills lend an indispensable visual dimension to the critique and understanding of the adaptations, giving tangible immediacy to the analysis of their cultural aspects (e.g., popularism, or imaginaires of the Golden Age in dialogue with modernity, gender, and class as reflected in costume, landscape, gesture, and so forth), and of their highly charged political implications (not just in contrasting portrayals—or not—of violence and symbols of power and/or populism by left and right-wing directors, but also conflicting takes on such quintessential questions as “race” in its Francoist sense, from native or German and Italian Fascist angles to Bolshevik, Jewish, and exiled anti-Fascist ones). One picture is worth a thousand words: the apophthegm applies in full to this catalogue and holds true as much for students of the original plays as for those of cinema, since the films constitute rewritings which, in Walter Benjamin’s terms, are unfoldings (Entfaltungen) of the great works’ afterlife that transcend mere material content to approach their truth content, “catching fire” from the eternal life of language.

The illustrations are the main increment, then, but not the only one, because for every picture the authors also provide over 250 words of text. These embody new insights and information on the background and nature of the films. Some twenty are covered in detail, of which fourteen were adaptations of Golden Age plays. Four were of Calderón’s El alcalde de Zalamea, from the silent versions by Adrià Gual (1914) and Berger (1920) to José Gutiérrez Maesso’s (1953) and Mario Camus’s La leyenda del alcalde de Zalamea...

审核人：

• 一些经典……电影！Alba Carmona 和 Guillermo Gómez Sánchez-Ferrer银画布上的黄金时代剧院（1914-1975）
• 杰里米·劳伦斯

这是2021 年 5 月至 2021 年 9 月期间在马德里洛佩德维加博物馆举办的展览的目录，该展览展示了从 1914 年开始到 1975 年独裁者弗朗西斯科佛朗哥去世的黄金时代戏剧的银幕改编。作者是自治大学的成员巴塞罗那的 Grupo Prolope 组织了这次展览，从西班牙、德国和俄罗斯的文件档案（剧本、提案、审查报告）、海报、剧照和电影剪辑中获得了丰富的收获，包括路德维希·伯杰的无声电影的完整放映里希特·冯·萨拉米亚（52 分钟，1920 年），最近在柏林联邦档案馆的电影档案馆中修复。此次活动伴随着导游参观计划、一场音乐会、在洛佩家著名的花园中放映五部电影以及在线圆桌会议。这是一项创新且信息丰富的举措，将照亮众多参观者。

展品被安置在一个单独的房间里，有几十个展柜和屏幕，读者可以在展览的在线视频中欣赏 (www.youtube.com/watch?v=kR2q_7HOklk)。然而，目录是十一乘七英寸半的重量级目录。它远不止是对展出物品的简单清单，而是对西班牙巴洛克戏剧在独裁统治之前和期间（试图）普及的文化和政治历史的详细分析。引言解释说，它源于 Carmona 的博士研究，最近出版为Las filmicas rewritings de la comedia nueva。大银幕上的一个世纪（彼得·朗，2020）。在邓肯·惠勒 (Duncan Wheeler) (14-17) 的四页“开场序列”之前，该文本由 127 页中的七章组成，十年接十年，随后是西蒙·布雷登 (Simon Breden) 的完整且专业的英文翻译和九页参考书目。

几乎正文的每一页都有丰富的插图。107张高品质图版，再现了展览的全部图文内容，构成了本刊相对于前一本书的主要增量，因为它们来自大量深奥的资源，很少有Golden [完页91]时代剧的学生会拥有有机会去探索。电影剧照为对改编作品的批评和理解提供了不可或缺的视觉维度，为分析其文化方面（例如，大众化或想象）提供了切实的即时性。黄金时代与现代性、性别和阶级的对话，反映在服装、风景、姿态等方面），以及它们高度紧张的政治影响（不仅仅是在对比性的描绘中——或者不是——暴力和权力的象征）和/或左翼和右翼导演的民粹主义，但在弗朗哥主义意义上的“种族”等典型问题上也存在冲突，从本土或德国和意大利法西斯主义的角度到布尔什维克、犹太人和流亡的反法西斯主义）。一张图片胜过一千个字：这句话完全适用于这个目录，对于学习原著戏剧的学生和电影的学生同样适用，因为电影构成了重写，用沃尔特·本雅明的话来说，就是展开（Entfaltungen）) 的伟大作品的来世，它们超越了单纯的物质内容，接近了它们的真实内容，从语言的永恒生命中“着火”。

插图是主要的增量，但不是唯一的，因为对于每张图片，作者还提供了超过 250 个单词的文本。这些体现了有关电影背景和性质的新见解和信息。详细介绍了大约二十个，其中十四个是黄金时代戏剧的改编。四个是卡尔德龙的El Mayor de Zalamea，从 Adrià Gual (1914) 和 Berger (1920) 的无声版本到 José Gutiérrez Maesso 的 (1953) 和马里奥加缪的La Leyenda del Mayor de Zalamea...