Texto y contextos del Diálogo para cantar de Lucas Fernández (Salamanca, 1514): entre cancionero y teatro

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                            [a] => Only one of the seven works in Lucas Fernández' collection Farsas y Églogas al modo pastoril y castellano (Salamanca, 1514) does not seem to be a theatrical text, namely Diálogo para cantar. The other works, with diverse and not always precise titles (comedy, farce or quasi-comedy, eclogue or farce, auto or farce, auto), conform to stage practices related to the Christmas or Easter Liturgy, to the courtly celebration of betrothals, or to popular theatrical practices. The poetic and musical modes of Diálogo para cantar, made up of the villancico «Quién te hizo, Juan, pastor» and its gloss, are evident and inseparable; its dramatic function is less obvious. However, three aspects of the work -poetic, musical and theatrical- should be considered in order to fully to define its text and contexts. The root villancico was initially collected in the cancionero Musical de Palacio, with music attributed to «Badajoz»; from this songbook, the villancico was disseminated with brief and diverse glosses through other Iberian poetic and musical cancioneros. Lucas Fernández turns the gloss into a larger theatrical dialogue between two shepherds, where Juan Pastor becomes a character at the center of a love conflict expressed lyrically, though still playable as drama and accompanied by music. The theatrical features identified in the gloss text allow the piece to be seen within a more complex performative context.
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                            [a] => Diálogo para cantar | Lucas Fernández | Villancico | Quién te hizo
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                            [t] => Revista de Cancioneros Impresos y Manuscritos
                            [x] => 2254-7444
                            [g] => Nº. 12,  2023,  pags. 93-118
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