Description
Book SynopsisThis collection of original new essays focuses on the many ways in which early modern Spanish plays engaged their audiences in a dialogue about abuse, injustice, and inequality. Far from the traditional monolithic view of theatrical works as tools for expanding ideology, these essays each recognize the power of theatre in reflecting on issues related to social justice. The first section of the book focuses on textual analysis, taking into account legal, feminist, and collective bargaining theory. The second section explores issues surrounding theatricality, performativity, and intellectual property laws through an analysis of contemporary adaptations. The final section reflects on social justice from the practitioners’ point of view, including actors and directors.
Social Justice in Spanish Golden Age Theatre reveals how adaptations of classical theatre portray social justice and how throughout history the writing and staging of comedias has been at the s
Trade Review
"The range and quality of the essays is impressive, as are the variety of approaches and points of emphasis." -- E. H. Friedman, Vanderbilt University * CHOICE *
Table of Contents
Acknowledgments Foreword Fernando Villa Proal, EFE TRES Teatro Introduction Part I: Readings of Comedias 1. The Poetics of Tragedy and Justice in Vélez de Guevara’s La serrana de la Vera Harrison Meadows, University of Tennessee, Knoxville 2. Utopian Divorce: El descasamentero by Salas Barbadillo Tania de Miguel Magro, West Virginia University 3. The Voice of the Voiceless: Toward Equality and Social Justice in Sor Juana’s El mártir del sacramento and El divino Narciso Francisco López-Martín, Denison University 4. Staging Strikes, Depicting Merchants, and the Morisco Problem in Valencia Melissa Figueroa, Ohio University 5. Notes on an Ethics of Theatricality in Cervantes: El gallardo español and La Numancia Moisés Castillo, University of Kentucky 6. Using Shame and Guilt to Impose Social Injustice in Ana Caro’s El Conde Partinuplés Jaclyn Cohen-Steinberg, University of Southern California Part II: Adaptations 7. A Social Justice Framing of the Comedia: EFE TRES Teatro’s El príncipe ynocente Adaptation Erin Alice Cowling, MacEwan University 8. Systemic Oppression in Morfeo Teatro’s Adaptation and Production of El coloquio de los perros Glenda Y. Nieto-Cuebas, Ohio Wesleyan University 9. El Trato de Argel and the Immigrant Crisis Mina Garcia, Elon University 10. Chirinos and Chanfalla Go to America: Social Justice in Adaptations of El retablo de las maravillas Charles Patterson, Western Washington University 11. Social Networks, Social Justice, and the People’s Right to the Golden Age Canon: The SGAE or the comedia Villain of the Digital Age? Elena García Martín, North Central College Part III: Interviews Ben Gunter, Dramaturg and Director, Theater with a Mission, Mission San Luis, Tallahassee, Florida Harley Erdman, Professor, Dramaturg, Adaptor, and Translator of Early Modern Theater and Gina Kaufmann, Associate Professor, Director, University of Massachusetts, Amherst Sandra Arpa and Paula Rodríguez, Founders, Actresses, and Directors, Teatro Inverso, Spain Fernando Villa Proal and Allan Flores, Founders and Directors, EFE TRES Teatro, Mexico City Ian Borden, Associate Professor of Theater Studies, Johnny Carson School of Theater and Film, University of Nebraska Natalia Menéndez, Former Director, Almagro International Classical Theater Festival, Spain
