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

Spanish Golden-Age plays take their place at the forefront of world theatre.

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