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Reading Performance: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage Book

Reading Performance: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage
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 has a rating of 2.5 stars
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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
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  • Reading Performance: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage
  • Written by author Susan L. Fischer
  • Published by Boydell & Brewer, Limited, May 2009
  • 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
  • Spanish Golden-Age plays take their place at the forefront of world theatre.
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Authors

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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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

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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

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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

Reading Performance: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage: Spanish Golden-Age Theatre and Shakespeare on the Modern Stage

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