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How should a seventeenth-centry Spanish verse play be presented to
a contemporary English-speaking audience? For many reasons, but
most usually the lack of playable modern translations, the plays of
the seventeenth-century Spanish Comedia have appeared infrequently
on the stages of the English-speaking world. Once such translations
began to appear in the final decades of the twentieth century,
productions followed and audiences were once again given the
opportunity of discovering the enormous riches of this theatre. The
bringing of Spanish seventeenth-century verse plays to the
contemporary English-speaking stage involves a number of
fundamental questions. Are verse translations preferable to prose,
and if so, what kind of verse? To what degree should translations
aim to be "faithful"? Which kinds of plays "work", and which do
not? Which values and customs of the past present no difficulties
for contemporary audiences, and which need to be decoded in
performance? Which kinds of staging are suitable, and which are
not? To what degree, if any, should one aim for "authenticity" in
staging? And so on. In this volume, a distinguished group of
translators, directors, and scholars explores these and related
questions in illuminating and thought-provoking essays. EDITORS:
Susan Paun de Garcia and Donald Larson are Associate Professors of
Spanish at the Universities of Denison and Ohio State respectively.
OTHER CONTRIBUTORS: Isaac Benabu, Catherine Boyle, Victor Dixon,
Susan Fischer, Michael Halberstam, David Johnston, Catherine
Larson, A. Robert Lauer, Dakin Matthews, Anne McNaughton, Barbara
Mujica, James Parr, Dawn Smith, Jonathan Thacker, Sharon Voros
New essays on the performance of Spanish Golden Age drama. Diverse
aspects of the performance of Golden Age plays are explored in this
volume, ranging in approach from the theoretical to the concrete
and from the historical to the contemporary. Several essays focus
on staging and performance in sixteenth and seventeenth century
Spain,examining areas such as audience reception, adaptations of
Golden Age plays to the Italian stage, ways of representing the
supernatural in hagiographic plays, and the participation ofwomen
in the theatre. Other articles concentrate specifically on the
text, highlighting such issues as the representation of violence;
while a third group deals with modern productions, looking at
issues involving casting and staging for contemporary audiences,
and including semiological anaylses of actual performances.
Overall, the book reflects the very latest research in
comediastudies.Spanish language.
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