Chapters in this book

1. Frontmatter i
2. Contents v
3. Illustrations viii
4. Contributors x
5. Preface xvii
6. Note to the Reader xix
7. Acknowledgements xx
8. PART I: THEORIZING
9. 1. Terms and Concepts: The Adaptation of Classical Texts for the Stage 1
10. 2. “Los senderos que se bifurcan:” Adaptation, Appropriation, and the Proliferation of Possibilities 13
11. 3. Interpretative Directing Games for the Golden Age Repertory 25
12. 4. Re-Make, Re-Mix, Re-Model 33
13. PART II: SURVEYING
14. 5. Refundición Redux: Revisiting the Rewritten Comedia 45
15. 6. Pepe Estruch and the Performance of Golden Age Drama: International Relationships under Franco and Democratic Theatrical Cultures 55
16. 7. Thinking Globally, Acting Locally, and Performing Nationalism: Local, National, and Global Remakes of the Comedia 65
17. 8. Four Decades of the Chamizal Siglo de Oro Drama Festival and the Evolution of Comedia Performance 75
18. 9. Early Modern Dramaturgas: A Contemporary Performance History 83
19. 10. Adapting Lope de Vega for the English-Speaking Stage 93
20. PART III: SPOTLIGHTING
21. 11. The Dog in the Manger: The Continuum of Transformation 105
22. 12. El caballero de Olmedo: Los Barracos’s Baroque Gentleman 117
23. 13. Corpus Lorqui: Transformation and Transubstantiation in Los Barracos de Federico’s El caballero de Olmedo 123
24. 14. The Phoenix of Madrid: Calderón’s No hay burlas con el amor Reborn in Bath 133
25. 15. A Prince in Pittsburgh: “Recasting” a Contemporary Staging of The Constant Prince 143
26. 16. Directing Marta the Divine: Provocative Choices in the Service of the Story 155
27. 17. The Dramaturgy of Absence: Minding the Gaps in Tirso de Molina, Ana Caro, and Feliciana Enríquez 167
28. 18. Translations and Transgressions: Twenty-First-Century Questions Regarding Zayas 177
29. 19. Comedia Actresses, Then and Now: The Case of Ana Caro’s Valor, agravio y mujer 189
30. 20. “Kinesthetic Empathy” and the Comedia refundición 197
31. PART IV: SHIFTING
32. 21. Porous Boundaries: novela or comedia? 211
33. 22. Lope de Vega and Lenfilm: The Dog in the Manger’s Cross-Cultural Journey 219
34. 23. Classical Theater and Puppetry: La Máquina Real 229
35. 24. Remaking Moreto’s El desdén con el desdén: From Author’s Text to Director’s Text 237
36. 25. Lope’s Peribáñez on the Lyric Stage 245
37. 26. A Musical Marta 255
38. Play Titles Cited 265
39. Works Cited 269
40. Index 287