Lope de Rueda


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Lope de Rueda

(lō`pā dā ro͞oā`thä), 1510?–1565, Spanish dramatist. A precursor of the Golden Age of Spanish literature, Rueda was an actor and a manager as well as a playwright. He is said to have created the genre known as pasos (short farces), noted for their use of rustic language and ordinary subjects. One of these is Paso de las aceitunas [incident of the olives]. His work was published posthumously.

Rueda, Lope de:

see Lope de RuedaLope de Rueda
, 1510?–1565, Spanish dramatist. A precursor of the Golden Age of Spanish literature, Rueda was an actor and a manager as well as a playwright. He is said to have created the genre known as pasos
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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Rueda, Lope De

 

Born between 1505 and 1510 in Seville; died circa 1565 in Córdoba. Spanish dramatist and actor.

In 1544, Rueda became the head of a company of actors, for which he wrote plays (published 1567 and 1570). Seven of his long plays and a number of one-act comedies, based on incidents from everyday life and reflecting popular speech (pasos), are well known; they include The Olives (Russian translations, 1919, 1953), The Guest (Russian translation, 1940) and The Land of Milk and Honey (Russian translation, 1953). Vivid dialogue and depiction of mores made Rueda’s pasos the prototypes of Spanish realistic dramaturgy. His comedies The Deceived Ones and Eufemia brought the plots and devices of Italian humanist comedy to the Spanish stage. Rueda was praised by Cervantes and Lope F. de Vega Carpió.

WORKS

Obras, vols. 1–2. Madrid, 1908.
Teatro. (Clásicos castellanos, vol. 59.) Madrid, 1958.

REFERENCES

Salazar, S. Lope de Rueda y su teatro, 2nd ed. Havana, 1912.
Crawford, J. P. W. Spanish Drama Before Lope de Vega, 2nd ed. Philadelphia, 1937.
Tusón, V. Lope de Rueda: Bibliografía crítica. Madrid, 1965.

A. L. SHTEIN

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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References in periodicals archive ?
35-36), la critica en general acepta a Lope de Rueda (1510-1566) como padre del entremes.
It goes on to discuss the diet of Philip IV (and the fact that 60% of the budget for his diet was spent on poultry), menus of royal feasts and the ways that banqueting permitted the performance of social hierarchies, sensuous feasts in the drama of Lope de Rueda and Ruiz de Alarcon (including the "gastro-humor" of La cueva de Salamanca), and the intricate relatedness of food, fantasy, orality, and sexuality.
Fie mentions having seen the pasos of Lope de Rueda in Sevilla, and his family likely had friends in the theatrical community.
Considerando a Tespis como el primer comico ambulante, esta forma trashumante de ir recorriendo pueblos y ciudades con un repertorio de obras, tuvo como primera figura notable, en Espana, a Lope de Rueda, con cuya compania recorrio el pais, aproximadamente, desde 1540 hasta su muerte en 1565.
Chapter 2 focuses on Lope de Rueda as the source of the comic progression that ultimately culminates in Cantinflas and the Esquirol of the Teatro Campesino.
Las obras con que empezo a trabajar Jose Estruch eran los pasos de Lope de Rueda y los entremeses de Cervantes.
La Barraca monto tambien un paso de Lope de Rueda, La tierra de Jauja, en la misma linea de los entremeses de Cervantes, es decir, sin decorados, e incluso sin vestuario porque, segun cuenta Saenz de la Calzada, en las dos unicas representaciones que tuvo, los actores llevaban el caracteristico mono de La Barraca, ademas de ponerse las pelucas, sombreros y aditamentos que les apetecia, "abundante y estrafalariamente maquillados" (129).