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List of illustrations vii
Foreword Jonathan W. Thacker xi
Acknowledgements xix
List of Productions xxii
Part I Comedia on the Spanish stage
1 Calderón and semiological self-exorcism: El médico de su honra (The Physician of his Honor) 3
2 Calderón and "Lillusion cinématographique" subverted: Antes que todo es mi dama (Above All She's My Lady) 21
3 Rojas and the interrogation of textual author(ity): La Celestina (The Spanish Bawd) 43
4 Calderón and the ideology of egalitarianism "más bien dado": El alcalde de Zalamea (The Mayor of Zalamea) 59
5 Tirso de Molina and "deadly" theatre: El vergonzoso en palacio (The Shy Man at Court) 77
6 Lope's carnivalesque theatre of terror: Fuenteovejuna (The Sheepwell) 93
7 Tirso and the restaging of eschatology: El burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Stone Guest) 117
8 Lope's aspectuality and performativity: El castigo sin venganza (Punishment without Revenge) 134
Part II Comedia on the Anglo-American stage
9 Calderón and the "Warrant of Womanhood": Life's a Dream (La vida es sueño) 163
10 Calderón and the contingency of radical tragedy: The Painter of Dishonour (El pintor de su deshonra) 179
11 Lope and the problem of an ending: Peribanez (Peribáñez y el comendador de Ocaña) 203
12 Lope and the politics of truth: The Dog in the Manger (El perro del hortelano) 220
Part III French and Shakespearean stage connections
13 Lope and the masks of reality: Pedro et le Commandeur (Peribáñez y el comendador de Ocaña) 247
14 Spanishappropriations of Shakespeare: El mercader de Venecia (The Merchant of Venice) 267
15 French appropriation of Shakespeare: Le Marchand de Venise (The Merchant of Venice) 308
Bibliography 327
Index 353
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Add Reading Performance: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage, Oscar Wilde once observed that 'it is the spectator, and not life, that art really mirrors'. This thought is borne out in this volume, which brings together two different and often mutually exclusive constituencies: the academic critic and the theatre pra, Reading Performance: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage to the inventory that you are selling on WonderClubX
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Add Reading Performance: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage, Oscar Wilde once observed that 'it is the spectator, and not life, that art really mirrors'. This thought is borne out in this volume, which brings together two different and often mutually exclusive constituencies: the academic critic and the theatre pra, Reading Performance: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage to your collection on WonderClub |