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O encontro forjado entre Lope de Vega e Pierre Corneille que aqui se propõe inscreve-se numa perspectiva comparatista lata que preconiza a partilha e intersecção de diferentes culturas e literaturas pertencentes a diferentes sistemas culturais, simbólicos e histórico-geográficos. Toma a Poética de Aristóteles como ponto de encontro e mediação para múltiplos e diferentes discursos, de onde podemos destacar, por momentos, os de Lope de Vega e Corneille. Arte Nuevo e os três Discours, ao mesmo tempo que se referem à doutrina aristotélica e aos comentários que se lhe seguiram, fornecem-nos duas posições pessoais, mas também comuns, numa rede de teatro europeu existente nos séculos XVI e XVII. Convidam-nos a desenhar mapas de teatro e espectáculo supranacionais através do reconhecimento do carácter transversal dos fenómenos literários e artísticos. Ao analisar as condições de escrita de Lope e Corneille, o campo teatral em que participaram e a sua vigorosa defesa do espectáculo e do público, novas e vizinhas ideias de teatro tornam-se visíveis.The meeting between Lope de Vega and Pierre Corneille proposed in this essay follows a broad comparative perspective that calls for the sharing and intersection of different cultures and literatures belonging to different cultural, symbolic, historical and geographical systems. This approach takes Aristotle’s Poetics as the meeting point and the mediation for multiple and diverse discourses, from which we can underline those of Lope de Vega and Pierre Corneille. Lope's Arte Nuevo and Corneille's three Discours, while referring to the Aristotelian doctrine and later commentaries, provide us with two personal, as well as common, positions of sixteenth- and seventeenth-century European theatre network. Lope and Corneille invite us to design supranational maps of theatre and drama production through the cross-cutting character of literary and artistic phenomena. By analysing Lope’s and Corneille’s writing conditions, the theatrical field they participated in, and the firm defence of the performance and the audience, new and different ideas about theatre become apparent

The establishment of the Aristotelian model in the European theatre: reviewing Lope de Vega’s and Pierre Corneille’s (dis)sonant discourses