Harley Erdman & Susan Paun de García 
Remaking the Comedia [PDF ebook] 
Spanish Classical Theater in Adaptation

Preface
Terms and Concepts: The Adaptation of Classical Texts for the Stage
‘Los senderos qu se bifurcan’: Adaptation, Appropriation, and the Proliferation of Possibilities
Interpretative Directing Games for the Golden Age Repertory
Re-Make, Re-Mix, Re-Model
Refundación Redux: Revisiting the Rewritten
Comedia
Pepe Estruch and the Performance of Golden Age Drama: International Relationships under Franco and Democratic Theatrical Cultures
Thinking Globally, Acting Locally, and Performing Nationalism: Local, National, and Global Remakes of the
Comedia
Four Decades of the Chamizal Siglo de Oro Drama Festival and the Evolution of
Comedia Performance
Early Modern
Dramaturgas: A Contemporary Performance History
Adapting Lope de Vega for the English-Speaking Stage
The Dog in the Manger: The Continuum of Transformation
El Caballero de Olmedo: Los Barracos’s Baroque Gentleman
Corpus Lorqui: Transformation and Transubstantiation in Los Barracos de Federico’s
El caballero de Olmedo
The Phoenix of Madrid: Calderón’s
No hay burlas con el amor Reborn in Bath
A Prince in Pittsburgh: ‘Recasting’ a Contemporary Staging of
The Constant Prince
Directing
Marta the Divine: Provocative Choices in the Service of the Story
The Dramaturgy of Absence: Minding the Gaps in Tirso de Molina, Ana Caro, and Feliciana Enríquez
Translations and Transgressions: Twenty-First Century Questions Regarding Zayas
Comedia Actresses, Then and Now: The Case of Ana Caro’s
Valor, agravio y mujer
‘Kinesthetic Empathy’ and the
Comedia Refundición
Porous Boundaries:
Novela or
Comedia?
Lope de Vega and Lenfilm:
The Dog in the Manger’s Cross-Cultural Journey
Classical Theater and Puppetry: La Máquina Real
Remaking Moreto’s
El Desdén con el desdén: From Author’s Text to Director’s Text
Lope’s
Peribáñez on the Lyric Stage
A Musical
Marta
Appendix: Play Titles Cited
Works Cited