Leading Golden Age theatre experts examine the ways that comedias have been adapted and reinvented, offering a broad performance history of the genre for scholars and practicioners alike.
This volume brings together twenty-six essays from the world’s leading scholars and practitioners of Spanish Golden Age theatre. Examining the startlingly wide variety of ways that Spanish
comedias have been adapted, re-envisioned, and reinvented, the book makes the case that adaptation is a crucial lens for understanding the performance history of the genre. The essays cover a wide range of topics, from the early stage history of the comedia through numerous modern and contemporary case studies, as well as the transformation of the comedia into other dramatic genres, such as films, musicals, puppetry, and opera. The essays themselves are brief and accessible to non-specialists. This book will appeal not only to Golden Age scholars and students but also to theater practitioners, as well as to anyone interested in the theory and practice of adaptation.
Harley Erdman is Professor of Theaterat the University of Massachusetts, Amherst
Susan Paun de García is Professor of Spanish at Denison University.
Contributors: Sergio Adillo Rufo, Karen Berman, Robert E. Bayliss, Laurence Boswell, Bruce R.Burningham, Amaya Curieses Irarte, Rick Davis, Harley Erdman, Susan L. Fischer, Charles Victor Ganelin, Francisco García Vicente, Alejandro González Puche, Valerie Hegstrom, Kathleen Jeffs, David Johnston, Gina Kaufmann, Catherine Larson, Donald R. Larson, Barbara Mujica, Susan Paun de García, Felipe B. Pedraza Jiménez, Veronika Ryjik, Jonathan Thacker, Laura L. Vidler, Duncan Wheeler, Amy Williamsen, Jason Yancey
Mục lục
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
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