The Best Man in the Play: Female Agency in a Gender-Inclusive Comedia

The Best Man in the Play: Female Agency in a Gender-Inclusive Comedia Abstract: As an example of how a newly reformulated, gender-inclusive Comedia canon demands that we reevaluate earlier assumptions made about the male-authored canon, this study engages two examples of the popular comic convention of the crossed-dressed woman—Tirso de Molina's Don Gil de las calzas verdes and Ana Caro's Valor, agravio y mujer —in dialogue with one another. This comparative reading suggests problems in traditional Comedia scholarship, in which the female protagonist of male-authored popular comedy indicates a "pro-woman" authorial stance. Because this critical tradition's influence is still notable today, we may continue to profit from the opening-up of the canon by recognizing the voices of women writers as fundamentally different, by reconsidering the male canon as equally gender-inflected, and by revising earlier critical assumptions that the dramaturgas have revealed to be anachronistically progressive. (REB) http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Bulletin of the Comediantes Bulletin of the Comediantes

The Best Man in the Play: Female Agency in a Gender-Inclusive Comedia

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Abstract

Abstract: As an example of how a newly reformulated, gender-inclusive Comedia canon demands that we reevaluate earlier assumptions made about the male-authored canon, this study engages two examples of the popular comic convention of the crossed-dressed woman—Tirso de Molina's Don Gil de las calzas verdes and Ana Caro's Valor, agravio y mujer —in dialogue with one another. This comparative reading suggests problems in traditional Comedia scholarship, in which the female protagonist of male-authored popular comedy indicates a "pro-woman" authorial stance. Because this critical tradition's influence is still notable today, we may continue to profit from the opening-up of the canon by recognizing the voices of women writers as fundamentally different, by reconsidering the male canon as equally gender-inflected, and by revising earlier critical assumptions that the dramaturgas have revealed to be anachronistically progressive. (REB)

Journal

Bulletin of the ComediantesBulletin of the Comediantes

Published: Jan 8, 2007

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