Información General

• Autores: Harley Erdman (coord.), Susan Paun de García (coord.)
• Editores: Boydell & Brewer Press
• Año de publicación: 2015
• País: Reino Unido
• Idioma: inglés
• ISBN: 9781782044987
• Texto completo no disponible (Saber más ...)

Reseñas

• Ha sido reseñado en:

  • Remaking the Comedia: Spanish Classical Theater in Adaptation ed. by Harley Erdman and Susan Paun de García (review)

    Michael J. McGrath

    Bulletin of the Comediantes, ISSN 0007-5108, Vol. 68, Nº 2, 2016, págs. 168-173

  • HARLEY ERDMAN AND SUSAN PAUN DE GARCÍA, EDS. Remaking the Comedia: Spanish Classical Theater in Adaptation. Woodbridge: Tamesis, 2015. xix + 303 pp.

    Hilaire Kallendorf

    Revista canadiense de estudios hispánicos, ISSN 0384-8167, Vol. 40, Nº 2, 2016, págs. 462-464

  • Harley Erdman y Susan Paun de García, eds., Remaking the Comedia. Spanish Classical Theater in Adaptation: Tamesis, Woodbridge, 2015, 303 pp. ISBN: 9781855662926

    Alba Carmona Lázaro

    Anuario Lope de Vega: Texto, literatura, cultura, ISSN-e 2014-8860, Nº. 23, 2017, págs. 615-620

  • Remaking the ‘Comedia’: Spanish Classical Theater in Adaptation. Edited by Harley Erdman and Susan Paun de García. Woodbridge: Tamesis. 2015. xix + 303 pp.

    Esther Fernández Rodríguez

    Bulletin of Spanish Studies, ISSN-e 1478-3428, ISSN 1475-3820, Vol. 94, Nº 7, 2017, págs. 1236-1237

Resumen

• This volume brings together twenty-six essays from the world's leading scholars and practitioners of Spanish Golden Age theatre. Examining the startlingly wide variety of ways that Spanish comedias have been adapted, re-envisioned, and reinvented, the book makes the case that adaptation is a crucial lens for understanding the performance history of the genre. The essays cover a wide range of topics, from the early stage history of the comedia through numerous modern and contemporary case studies, as well as the transformation of the comedia into other dramatic genres, such as films, musicals, puppetry, and opera. The essays themselves are brief and accessible to non-specialists. This book will appeal not only to Golden Age scholars and students but also to theater practitioners, aswell as to anyone interested in the theory and practice of adaptation.

Otros catálogos

• Red de Bibliotecas Universitarias (REBIUN)

Listado de artículos

• • PART I: THEORIZING

    • Terms and Concepts: The Adaptation of Classical Texts for the Stage

      Catherine Larson

      págs. 3-12

      

    • “Los senderos que se bifurcan": Adaptation, Appropriation, and the Proliferation of Possibilities

      Catherine Larson

      págs. 13-24

      

    • Interpretative Directing Games for the Golden Age Repertory

      Alejandro González Puche

      págs. 25-32

      

    • Re-Make, Re-Mix, Re-Model

      Laurence Boswell

      págs. 33-42

      

  • PART II: SURVEYING

    • Refundición Redux: Revisiting the Rewritten Comedia

      Charles Victor Ganelin

      págs. 45-54

      

    • Pepe Estruch and the Performance of Golden Age Drama: International Relationships under Franco and Democratic Theatrical Cultures

      Duncan Wheeler

      págs. 55-64

      

    • Thinking Globally, Acting Locally, and Performing Nationalism: Local, National, and Global Remakes of the Comedia

      Robert Bayliss

      págs. 65-74

      

    • Four Decades of the Chamizal Siglo de Oro Drama Festival and the Evolution of Comedia Performance

      Jason Yancey

      págs. 75-82

      

    • Early Modern Dramaturgas: A Contemporary Performance History

      Valerie Hegstrom, Amy R. Williamsen

      págs. 83-92

      

    • Adapting Lope de Vega for the English-Speaking Stage

      Jonathan Thacker

      págs. 93-102

      

  • PART III: SPOTLIGHTING

    • The Dog in the Manger: The Continuum of Transformation

      David Johnston

      págs. 105-116

      

    • El caballero de Olmedo: Los Barracos’s Baroque Gentleman

      Amaya Curieses

      págs. 117-122

      

    • Corpus Lorqui: Transformation and Transubstantiation in Los Barracos de Federico’s El caballero de Olmedo

      Bruce R. Burningham

      págs. 123-132

      

    • The Phoenix of Madrid: Calderón’s No hay burlas con el amor Reborn in Bath

      Kathleen Jeffs

      págs. 133-142

      

    • A Prince in Pittsburgh: “Recasting” a Contemporary Staging of The Constant Prince

      Rick Davis

      págs. 143-154

      

    • Directing Marta the Divine: Provocative Choices in the Service of the Story

      Gina Kaufmann

      págs. 155-166

      

    • The Dramaturgy of Absence: Minding the Gaps in Tirso de Molina, Ana Caro, and Feliciana Enríquez

      Harley Erdman

      págs. 167-176

      

    • Translations and Transgressions: Twenty-First-Century Questions Regarding Zayas

      Karen Berman

      págs. 177-188

      

    • Comedia Actresses, Then and Now: The Case of Ana Caro’s Valor, agravio y mujer

      Barbara Mujica

      págs. 189-196

      

    • “Kinesthetic Empathy” and the Comedia refundición

      Laura L. Vidler

      págs. 197-208

      

  • PART IV: SHIFTING

    • Porous Boundaries: novela or comedia?

      Susan Paun de García

      págs. 211-218

      

    • Lope de Vega and Lenfilm: The Dog in the Manger’s Cross-Cultural Journey

      Veronika Ryjik

      págs. 219-228

      

    • Classical Theater and Puppetry: La Máquina Real

      Sergio Adillo Rufo

      págs. 229-236

      

    • Remaking Moreto’s El desdén con el desdén: From Author’s Text to Director’s Text

      Francisco García Vicente

      págs. 237-244

      

    • Lope’s Peribáñez on the Lyric Stage

      Donald R. Larson

      págs. 245-254

      

    • A Musical Marta

      Felipe B. Pedraza Jiménez

      págs. 255-264