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La perception de Lope de Vega en France au XVIIe siècle est marquée par de profondes contradictions. Le dramaturge espagnol a souvent été déprécié par les théoriciens qui lui reprochaient sa méconnaissance de l’Antiquité et des règles, cependant des auteurs dramatiques ont réécrit certaines de ses œuvres pour la scène française. De ces auteurs, Rotrou est celui qui a imité le plus grand nombre de comedias, surtout sous forme de tragi-comédies, entre 1630 et 1640. À partir de trois tragi-comédies, cette étude met en lumière les techniques d’adaptation employées par Rotrou, tant au niveau de la structure que de la coloration culturelle de ces pièces. Nous nous interrogeons enfin sur le statut des adaptations du théâtre espagnol dans le répertoire français de l’époque.Lope de Vega's works in France during the seventeenth century were perceived in quite different ways. On the one hand, his comedias were depreciated by theorists who blamed his ignorance of ancient drama and its rules, while French playwrights were adapting some of these plays for their national stage. Among them, Rotrou was the one who imitated the greatest number of comedias, mainly in the form of tragicomedies, between 1630 and 1640. The study of three tragicomedies reveals Rotrou's methods for adapting the frame of the comedias by Lope as well as for changing their cultural hue. Finally, we explore the status of such adaptations from Spanish plays in the French repertoire at that time

Lope de Vega's French adaptations: dramatic treatment and cultural reappropriation in three tragicomedies by Rotrou