"In The Cartographer, the playwright Juan Mayorga recovers for the present, and in an original and oblique way, some of the events that took place in the Warsaw ghetto in the first half of the 1940s. The piece makes explicit a parallelism between cartographic art and theatrical writing and at the same time translates it into practice through its own architecture. The map and the human body become there means of resistance to the impositions of History and vehicles of a memory that strives to save a part of the past and which allows to look at it with a renewed gaze and as an invisible part of the present."
Para reconstruir el texto crítico de Por la puente, Juana, entretenida y peculiar comedia urbana de los años de la madurez de Lope de Vega, este artículo acude por primera vez de forma sistemática al texto contenido en la Parte XXVII extravagante, además de referirse a la más conocida edición de la comedia publicada en la Parte XXI ‘autorizada’ de comedias del Fénix de los Ingenios. Ello permite restaurar en el texto algunas lecturas que se habían corrompido en el proceso de transmisión; de ellas se ofrecen aquí algunas muestras.
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