Going Down to Morocco (Bajarse al moro), is one of the most emblematic and best known theatrical work of recent times in Spain. It both contributed to and documented La Movida, a drug-fuelled youth movement that placed Madrid firmly on the global cultural map in the early 1980s. Alonso de Santos' play, a commercial and critical success when first staged in 1985, was made into a film starring Antonio Banderas in 1989. Chusa, a free-spirited and spontaneously generous young drug smuggler introduces Elena, a middle-class runaway, to the apartment she shares with her cousin Jaimito and her boyfriend Alberto, a rookie policeman. The result is chaos in their previously disorderly but happy life. The comedy explores opposing lifestyles of young people in 1980s Spain, during a period of radical social change. It is characterised by humour, creative use of contemporary slang, and intertextual film references. Duncan Wheeler's translation of the original play marks with footnotes the changes made in the new version done in 2008 for a high-profile revival to celebrate its twenty-fifth anniversary. This edition also includes an unpublished interview conducted by Duncan Wheeler with Alonso de Santos in 2010.

An assessment of the life, work and reputation of Spain's leading Golden Age dramatist A Companion to Lope de Vega brings together essays by leading international scholars on the life and works of Lope de Vega Carpio, the 'fenix de los ingenios', or, as his rival Miguel de Cervantes dubbed him, 'monstruo de la naturaleza'. Spain's foremost Golden Age playwright excelled in all literary genres, including prose and poetry, also covered here. The contributors evaluate current critical debates and issues in Lope de Vega studies, as well as providing new readings of key texts. It has been the aim of the editors to do justice to the variety, profusion and originality of Lope's work, placing the writer and his output firmly in their historical context as well asassessing his reputation in literary history. The wide variety of critical perspectives found in the volume reflects the liveliness of the debate surrounding this enduringly popular figure whose drama is enjoying a renaissance intheatres around the globe. Alexander Samson lectures in Golden Age literature at University College London. Jonathan Thacker is Fellow in Spanish at Merton College, Oxford. Other Contributors: Elaine Canning, Geraldine Coates, Frederick A de Armas, Victor Dixon, Geraint Evans, Tyler Fisher, Edward H. Friedman, Alejandro Garcia Reidy, David Johnston, Arantza Mayo, David McGrath, Barbara Mujica, Ali Rizavi Jose Maria Ruano de la Haza,Isabel Torres, Xavier Tubau, Duncan Wheeler.

Going Down to Morocco (Bajarse al moro), is one of the most emblematic and best known theatrical work of recent times in Spain. It both contributed to and documented La Movida, a drug-fuelled youth movement that placed Madrid firmly on the global cultural map in the early 1980s. Alonso de Santos' play, a commercial and critical success when first staged in 1985, was made into a film starring Antonio Banderas in 1989. Chusa, a free-spirited and spontaneously generous young drug smuggler introduces Elena, a middle-class runaway, to the apartment she shares with her cousin Jaimito and her boyfriend Alberto, a rookie policeman. The result is chaos in their previously disorderly but happy life. The comedy explores opposing lifestyles of young people in 1980s Spain, during a period of radical social change. It is characterised by humour, creative use of contemporary slang, and intertextual film references. Duncan Wheeler's translation of the original play marks with footnotes the changes made in the new version done in 2008 for a high-profile revival to celebrate its twenty-fifth anniversary. This edition also includes an unpublished interview conducted by Duncan Wheeler with Alonso de Santos in 2010.

The transition to democracy that followed the death of Spanish dictator Francisco Franco in 1975 was once hailed as a model of political transformation. But since the 2008 financial crisis it has come under intense scrutiny. Today, a growing divide exists between advocates of the Transition and those who see it as the source of Spain's current socio-political bankruptcy. This book revisits the crucial period from 1962 to 1992, exposing the networks of art, media and power that drove the Transition and continue to underpin Spanish politics in the present. Drawing on rare archival materials and over three hundred interviews with politicians, artists, journalists and ordinary Spaniards, including former prime minister Felipe Gonzalez (1982-96), Following Franco unlocks the complex and often contradictory narratives surrounding the foundation of contemporary Spain. -- .

An assessment of the life, work and reputation of Spain's leading Golden Age dramatist A Companion to Lope de Vega brings together work by leading international scholars on the life and writing of Lope de Vega Carpio, the 'fenix de los ingenios', a 'monstruo de la naturaleza', as he was described by his rival, Miguel de Cervantes. Spain's foremost Golden Age playwright was in addition a major artist in prose and poetry, genres also covered by the Companion. The contributions evaluate current critical debates and issues in Lopede Vega studies, as well as providing new readings of key texts. The volume attempts to do justice to the variety, profusion and originality of Lope's output, and to outline the contours of his reputation as an artist in literaryhistory, as well as firmly contextualising his life and work. The variety of critical perspectives reflects the liveliness of debate surrounding this enduringly popular figure whose drama has recently enjoyed a renaissance in theatres around the globe. ALEXANDER SAMSON lectures in Golden Age literature at University College London and JONATHAN THACKER is a Fellow in Spanish at Merton College, Oxford. Contributors: Frederick De Armas, ElaineCanning, Geraldine Coates, Victor Dixon, Geraint Evans, Tyler Fisher, Edward H. Friedman, Alejandro Garcia Reidy, Esther Gomez, David Johnston, Arantza Mayo, David McGrath, Barbara Mujica, Ali Rizavi, Jose Maria Ruano de la Haza, Alexander Samson, Jonathan Thacker, Isabel Torres, Xavier Tubau, Duncan Wheeler.

"Golden Age Drama in Contemporary Spain" examines the work of Spain's three major playwrights of the baroque era, Calderon de la Barca, Lope de Vega, and Tirso Molina, in the context of contemporary Spain and twenty-first-century stagings of their works, both on stage and in film and television. The first extended study of these dramatists to consider modern-day performances of their work in their full sociohistorical context, this volume attempts to remedy the traditional absence of performance-based approaches in Golden Age studies, while also providing detailed aesthetic analyses of individual adaptations. Written in a clear, concise style and featuring helpful plot summaries, this is a genuinely interdisciplinary work that will appeal to practitioners as well as students and scholars working in Hispanic and theater studies.

"Golden Age Drama in Contemporary Spain" examines the work of Spain's three major playwrights of the baroque era, Calderon de la Barca, Lope de Vega, and Tirso Molina, in the context of contemporary Spain and twenty-first-century stagings of their works, both on stage and in film and television. The first extended study of these dramatists to consider modern-day performances of their work in their full sociohistorical context, this volume attempts to remedy the traditional absence of performance-based approaches in Golden Age studies, while also providing detailed aesthetic analyses of individual adaptations. Written in a clear, concise style and featuring helpful plot summaries, this is a genuinely interdisciplinary work that will appeal to practitioners as well as students and scholars working in Hispanic and theater studies.

Este es el primer libro dedicado en su integridad a las adaptaciones cinematograficas de la comedia aurea. Con el, el Siglodorismo salda una deuda contraida con un patrimonio filmico que hasta fechas muy recientes habia despertado el interes solo de unos pocos. Desde una perspectiva interdisciplinar, la autora analiza diez peliculas y ofrece un recorrido a traves de la historia del cine que permite entender como, durante los ultimos cien anos, lectores de distintas ideologias y naciones se han aproximado al teatro barroco y lo han reescrito a voluntad. Los resultados invitan a reflexionar no solo sobre el poder que poseen las pantallas para dar a conocer (o bien condenar al olvido) un espectaculo que en su dia fue de masas, sino tambien sobre la actitud que deben tomar los especialistas hacia esta clase de producciones.