Resumen de Una aproximación a la recepción del Quijote en el teatro inglés contemporáneo
- español
La intención de este trabajo es comprobar la influencia del Quijote en el teatro inglés reciente a través del análisis de siete obras que adaptan la novela al escenario: The travails of Sancho Panza. A play for the young, de James Saunders (1970); Don Quixote, de Keith Dewhurst (1982); Don Quixote. A Fantastic Tale In Two Acts, de Jim Sperinck (1991); Don Quixote, de Colin Teevan y Pablo Ley (2007); The New Adventures of Don Quixote, de Ali Tariq (2014); Don Quixote, de James Fenton (2016); y Wandering Through La Mancha. A Quixotic Tale, de Aaron M. Kahn (2019). Se analizan las características comunes a todas ellas y se observa si se mantienen las líneas de interpretación del Quijote en el teatro inglés precedente, una recepción que comenzó con la primera adaptación conocida de la novela a la escena: The Knight of the Burning Pestle (1611), de Francis Beaumont, y el destacable Cardenio de Shakespeare. Se concluye que las obras analizadas son un ejemplo más de la larga relación entre la novela cervantina y el teatro inglés y que, aunque tienen varios elementos en común, presentan lecturas particulares del mito quijotesco.
- English
The intention of this paper is to examine the influence of Don Quixote on the recent English drama through the analysis of seven plays that adapt the novel for the stage: The travails of Sancho Panza. A play for the young, by James Saunders (1970); Don Quixote, by Keith Dewhurst (1982); Don Quixote. A Fantastic Tale In Two Acts, by Jim Sperinck (1991); Don Quixote, by Colin Teevan and Pablo Ley (2007); The New Adventures of Don Quixote, by Ali Tariq (2014); Don Quixote, by James Fenton (2016); and Wandering Through La Mancha. A Quixotic Tale, by Aaron M. Kahn (2019). The characteristics common to all of them are analysed and it is observed whether the lines of interpretation of Don Quixote in the preceding English drama are maintained, a reception that began with the first known adaptation of the novel for the stage: The Knight of the Burning Pestle (1611), by Francis Beaumont, and Shakespeare’s remarkable Cardenio. The conclusion is that the analysed plays are a further example of the long relationship between Cervantes’ novel and the English drama and that, although they have several elements in common, they present particular readings of the quixotic myth.
