B U L L E T I N O F T H E C O M E D I A N T E S 2 0 2 2 – 2 3 | v ol / 7 4 N º 1 + 2 p r e p u b l i c at i o n ( p r o j e c t m u s e ) 1 r e v i e w s Pedro Calderón de la Barca. El gran teatro del mundo. Edición de Ignacio Arellano. Estudio preliminar de Enrique Rull y Ana Suárez. Edition Reichenberger, 2021. 296 pp. Rasmus Vangshardt University of Southern Denmark “Corta fue la comedia” (v. 1255), Mundo exclaims in apparent despair when the play-within-a-play ends and the “globe of the world” closes. In their momentous simplicity, Mundo’s words spring to mind when opening Reichenberger’s final volume—number one hundred—of Calderón. Autos sacramentales completos, which was begun in 1992 and concludes—how could it not?—with the most famous of them all, El gran teatro del mundo, likely written between 1633 and 1636. One senses the merited pride in the two forewords by the publisher Eva Reichenberger and the general editor Ignacio Arellano. The editorial project might not always have felt short: in fact, it spanned almost thirty years. But how wonderful that Calderón’s autos, which have seen significant changes in esteem and popularity across the ages, are now finally available in their entirety in reliable editions. One could only ask that the publisher make their purchase more convenient instead of requiring an email order and payment via bank transfer. An edition of this auto sacramental was surely much needed. The play’s foundational metaphor has after all become emblematic of a whole epoch. Yet until now scholars wanting to try their hand at a new interpretation of the iconic play had to make due with very few editions: the Cátedra edition from 2005 (ed. Eugenio Frutos Cortés), most appropriate for high school students, or the Crítica edition, already almost twenty-five years old (eds. John J. Allen and Domingo Ynduráin, 1997). The only other option was Gerhard Poppenberg’s skillful Spanish–German edition published in 1988 and 2012 with Reclam, whose production quality and design are no match for the play’s masterful content. At last we now have that longed-for edition, concluding a momentous project, with 130 pages of introductory study by Enrique Rull and Ana Suárez. Arellano’s primary challenge as editor in establishing the text was to choose between the 1655 edition published during Calderón’s lifetime B U L L E T I N O F T H E C O M E D I A N T E S 2 0 2 2 – 2 3 | v ol / 7 4 N º 1 + 2 p r e p u b l i c at i o n ( p r o j e c t m u s e ) 2 and Pedro de Pando y Mier’s edition from 1717. In convincing fashion, he notes that, notwithstanding the seeming abundance of thirty-three modern editions published between 1926 and 1974, the only relevant ones remain the two just mentioned along with six available manuscripts. Arellano explains that the 1655 edition has very few deficiencies. The most significant one, already noted by Poppenberg, is that “su obscura” should be emended to “tu obscura” (v. 34) because Autor is addressing Mundo. This is of utmost importance because it deals with the very cosmogenesis of the play’s world in the sense that it relates to Autor’s giving form to the world. Other than that, the 1655 edition presents minor problems consisting of a few typographical errors and a couple of missing verses that can be easily fixed (e.g., p. 153 in the new edition). Arellano notes, in turn, that the 1717 version and the manuscripts all seem based on the 1655 edition, which makes the ecdotic challenges manageable. The only regrettable feature of this edition is the decision to leave out the play’s philologically contested loa. In 1717, Pando y Mier included a loa to Calder...

喜剧演员 TES 公告 2 0 2 2 – 2 3 | v ol / 7 4 N º 1 + 2 prepublic at ion (projectmuse) 1 条评论 Pedro Calderón de la Barca。世界大剧院。伊格纳西奥·阿雷利亚诺编辑。恩里克·鲁尔 (Enrique Rull) 和安娜·苏亚雷斯 (Ana Suárez) 进行的初步研究。Reichenberger 版，2021 年。296 页。南丹麦大学拉斯穆斯·范萨特 (Rasmus Vangshardt) “喜剧太短了”（第 1255 节），当戏中戏结束、“世界地球仪”关闭时，蒙多明显绝望地感叹道。当打开赖兴伯格的《卡尔德隆》最后一卷（第 100 卷）时，蒙多的话以极其简洁的方式浮现在脑海中。Autos sacramentales completos 于 1992 年开始，并以其中最著名的《世界大剧院》（El gran Teatro del mundo）结束（这怎么可能？），很可能写于 1633 年至 1636 年之间。出版商伊娃·赖兴伯格 (Eva Reichenberger) 和总编辑伊格纳西奥·阿雷拉诺 (Ignacio Arellano) 的两篇前言让人感受到应有的自豪感。编辑项目可能并不总是感觉很短：事实上，它跨越了近三十年。但卡尔德龙的汽车在各个时代的尊重和受欢迎程度上都发生了巨大的变化，现在终于以可靠的版本提供了完整的版本，这是多么美妙的事情啊。人们只能要求出版商让他们的购买更加方便，而不是要求通过电子邮件订购并通过银行转账付款。肯定非常需要这种自动圣礼的版本。该剧的基本隐喻终究成为了整个时代的象征。然而，直到现在，想要尝试对这部标志性戏剧进行新诠释的学者们只能得到很少的版本：2005 年的 Cátedra 版本（ed. Eugenio Frutos Cortés），最适合高中生，或者 Critica 版本，已经有近 25 岁了（John J. Allen 和 Domingo Ynduráin 编辑，1997 年）。唯一的选择是格哈德·波彭伯格 (Gerhard Poppenberg) 于 1988 年和 2012 年以 Reclam 出版的精湛的西班牙德文版本，其制作质量和设计无法与该剧的精湛内容相媲美。我们终于有了期待已久的版本，结束了一个重要的项目，其中包含恩里克·鲁尔 (Enrique Rull) 和安娜·苏亚雷斯 (Ana Suárez) 的 130 页介绍性研究。作为编辑，阿雷利亚诺在确定文本时面临的主要挑战是在卡尔德龙生前出版的 1655 年版本之间进行选择 BULLETINOFTHECOMEDIAN TES 2 0 2 2 – 2 3 | vol / 7 4 N º 1 + 2 prepublic at ion (projectmuse) 2 和 Pedro de Pando y Mier 1717 年的版本。他以令人信服的方式指出，尽管 1926 年至 1974 年间出版了 33 个现代版本，但唯一相关的仍然是刚才提到的两个版本以及 6 个可用手稿。Arellano 解释说 1655 年版本几乎没有什么缺陷。最重要的一个，波彭伯格已经指出，是“su obscura”应该修改为“tu obscura”（第 34 节），因为作者是在向 Mundo 讲话。这是极其重要的，因为它涉及到戏剧世界的宇宙起源，因为它与奥托赋予世界的形式有关。除此之外，1655 年版本还存在一些小问题，包括一些印刷错误和一些可以轻松修复的缺失经文（例如，新版本中的第 153 页）。阿雷拉诺反过来指出，1717 年版本和手稿似乎都是基于 1655 年版本，这使得外部挑战变得易于管理。这一版本唯一令人遗憾的特点是决定省略剧中备受争议的语言学神灵。1717 年，潘多·米尔 (Pando y Mier) 向考尔德 (Calder) 献上了神灵……