Antonio de solis et son theatre

par Frédéric Serralta

Thèse de doctorat en Études ibériques

Sous la direction de DOMINIQUE QUENTIN MAUROY.

Soutenue en 1987

à Toulouse 2 .

    mots clés mots clés


  • Résumé

    Les travaux ici consacres a antonio de solis et son theatre contribuent a eclairer les zones d'ombre de sa vie et de sa trajectoire dramatique. Ils proposent la solution d'imbroglios bibliographiques et de problemes d'attribution : les deux versions de la gitanilla, la restauracion de espana, piece fictive, el hidalgo ("entremes"). . . La biographie de solis precise certaines circonstances de sa vie privee (son domicile, sa compagne, son fils), evoque son cadre familier (contenu de son testament, inventaire de sa bibliotheque) et, moyennant la datation de ses pieces, fait apparaitre l'existence de deux seules periodes fecondes. De 1651 a 1661 l'auteur, dramaturge officiel, fournit au palais de nombreuses pieces courtes, une comedie burlesque en collaboration et des "comedias" a grand spectacle dont le succes, et notamment celui de la derniere, triun, fos de amor y fortuna (1658), est unique dans le theatre espagnol du xviie siecle et encore atteste vingt ans apres. Mais pendant cette deuxieme periode, solis ne fait guere que refondre ses textes ou reutiliser les structures elaborees lors de la premiere. C'est de 1627 a 1636, en effet, qu'il assimile les principes de la "comedia" d'intrigue et forge -de l'imitation a l'affirmation de soi- sa personnalite creatrice. Utilisant un schema dramatique immuable, maitrisant bientot a la perfec- tion la "fatalite comique" et la "mecanique des erreurs", il se distingue par son souci de clarte et de moderation, sa distanciation ironique a l'egard des poncifs du genre, sa liberte de ton, sa satire enjouee, et une sorte d'humanisme souriant faisant de son chef-d'oeuvre, el amor al uso, une des meilleures comedies d'intrigue du siecle.


  • Résumé

    This research devoted to antonio de solis and his theatre contributes to shed light on the dark areas of his life and of his theatrical trajectory. It proposes to unravel bibliographical imbroglios and problems of authorship such as those of the two versions of la gitanilla, la restauracion de espana, a fictitious play, and el hidalgo ("entremes"). . . The biography of solis clarifies several aspects of his private life (his dwelling-place, his life companion, his son), evokes his way of life (from a study of his will and the contents of his library) and, after establishing the dates of his plays, brings to light only two productive periods. From 1651 to 1661 solis, official playwright, wrote for the court numerous short plays, a burlesque comedy in collaboration, and spectacular "comedias" whose success, notably that of the last one triunfos de amor y fortuna (1658), is unique in xviith century spanish theatre, and stretches over a period of twenty years. Yet during this second period solis did little more than reworking his texts or using again the structures worked out during his first creative period. Indeed it was from 1627 to 1636 that he mastered the principles of the comedy of intrigue and minted his creative personality, moving from imitation to self-assertion. Making use of an immutable dramatic pattern and soon mastering "comic fate" and "the mechanics of errors", he achieved eminence thanks to his taste for clarity and moderation, his ironic distance from the cliches of the genre, the audacity of his tone, his witty satire, and as it were the smile of humanism that safely places his masterpiece, el amor al uso, in the front ranks of his century's comedies of intrigue.

Consulter en bibliothèque

La version de soutenance existe sous forme papier

Où se trouve cette thèse ?

  • Bibliothèque : Université Toulouse Jean Jaurès. Bibliothèque universitaire centrale de lettres et sciences humaines.
  • Accessible pour le PEB
Voir dans le Sudoc, catalogue collectif des bibliothèques de l'enseignement supérieur et de la recherche.