Description
Book SynopsisLeading 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
Table of ContentsPreface 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
