Description
Book SynopsisMiguel de Cervantes’s experimentation with theatricality is frequently tied to the notion of revelation and disclosure of hidden truths. Drawing the Curtain showcases the elements of theatricality that characterize Cervantes’s prose and analyses the ways in which he uses theatricality in his own literary production.
Bringing together the works of well-known scholars, who draw from a variety of disciplines and theoretical approaches, this collection demonstrates how Cervantes exploits revelation and disclosure to create dynamic dramatic moments that surprise and engage observers and readers. Hewing closely to Peter Brook’s notion of the bare or empty stage, Esther Fernández and Adrienne L. Martín argue that Cervantes’s omnipresent concern with theatricality manifests not only in his drama but also in the myriad metatheatrical instances dispersed throughout his prose works. In doing so, Drawing the Curtain sheds light on the ways in which Cerv
Table of Contents
Introduction: The Poetics of the Imagined Stage Esther Fernández and Adrienne L. Martín Part One: Alternate Theatricalities in Cervantes’s Drama 1. Cervantes and the Simple Stage Bruce R. Burningham 2. Queer Cambalaches in El rufián dichoso John Slater 3. Of Players and Wagers: The Theatricality of Gambling for Salvation in El rufián dichoso Sonia Velázquez 4. Writing to Rescue from Oblivion: The Phantasms of Captivity in El trato de Argel Julia Domínguez 5. Captivating Music, Memory, and Emotions in Los baños de Argel Sherry Velasco 6. In the Name of Love: Cervantes’s Play on Captivity in La gran sultana Ana Laguna 7. Revolving Sets: Spatial Revelations in the Entremeses Esther Fernández and Adrienne L. Martín Part Two: Acts of Disclosure in Cervantes’s Prose 8. Coups de théâtre in the Novelas ejemplares B.W. Ife 9. Captive Audiences: Performing Captivity in Cervantes’s Prose Narrative Catherine Infante 10. Painting into Theatre: “The Suicide of Lucretia” as a Tableau Vivant in El curioso impertinente Mercedes Alcalá-Galán 11. “Muchas y muy verdaderas señales”: The Theatrics of Truth and Sincerity of Fiction in La Galatea Paul Michael Johnson 12. Eavesdropping or Spying? Secret Places and Spaces in Don Quixote Eduardo Olid Guerrero 13. Don Quixote and the Performance of Aging Masculinities in Early Modern Spain José R. Cartagena Calderón
