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Three classic Spanish plays, made famous by Shakespeare and Webster Two of the most famous and successful playwrights of Spain's Golden Age of playwriting were Lope de Vega (1562-1635) and Rojas Zorrilla (1607-48). From their prodigious output, the three plays in this volume, based on similar sources to Shakespeare's and Webster's versions, provide a fascinating comparison with their Jacobean counterparts. Lope's The Duchess of Amalfi's Steward, in contrast to Webster's play, focuses on the nobility of love, with characters who are complex and appealing. His Romeo-and-Juliet story, The Capulets and Montagues, is a fast-moving mixture of serious and comic, with an ending that will surprise and entertain. Rojas' treatment of Cleopatra, with its rich imagery, emphasises the love theme, held within a knot of jealous relationships. A full introduction by Gwynne Edwards sets the plays in context and provides a thorough study of the individual works.
Three classic Spanish plays, made famous by Shakespeare and Webster Two of the most famous and successful playwrights of Spain's Golden Age of playwriting were Lope de Vega (1562-1635) and Rojas Zorrilla (1607-48). From their prodigious output, the three plays in this volume, based on similar sources to Shakespeare's and Webster's versions, provide a fascinating comparison with their Jacobean counterparts. Lope's The Duchess of Amalfi's Steward, in contrast to Webster's play, focuses on the nobility of love, with characters who are complex and appealing. His Romeo-and-Juliet story, The Capulets and Montagues, is a fast-moving mixture of serious and comic, with an ending that will surprise and entertain. Rojas' treatment of Cleopatra, with its rich imagery, emphasises the love theme, held within a knot of jealous relationships. A full introduction by Gwynne Edwards sets the plays in context and provides a thorough study of the individual works.
This collection of original new essays focuses on the many ways in which early modern Spanish plays engaged their audiences in a dialogue about abuse, injustice, and inequality. Far from the traditional monolithic view of theatrical works as tools for expanding ideology, these essays each recognize the power of theatre in reflecting on issues related to social justice. The first section of the book focuses on textual analysis, taking into account legal, feminist, and collective bargaining theory. The second section explores issues surrounding theatricality, performativity, and intellectual property laws through an analysis of contemporary adaptations. The final section reflects on social justice from the practitioners’ point of view, including actors and directors. Social Justice in Spanish Golden Age Theatre reveals how adaptations of classical theatre portray social justice and how throughout history the writing and staging of comedias has been at the service of a wide range of political agendas.
Leading Golden Age theatre experts examine the ways that comedias have been adapted and reinvented, offering a broad performance history of the genre for scholars and practicioners alike. 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, as well as to anyone interested in the theory and practice of adaptation. Harley Erdman is Professor of Theaterat the University of Massachusetts, Amherst Susan Paun de García is Professor of Spanish at Denison University. Contributors: Sergio Adillo Rufo, Karen Berman, Robert E. Bayliss, Laurence Boswell, Bruce R.Burningham, Amaya Curieses Irarte, Rick Davis, Harley Erdman, Susan L. Fischer, Charles Victor Ganelin, Francisco García Vicente, Alejandro González Puche, Valerie Hegstrom, Kathleen Jeffs, David Johnston, Gina Kaufmann, Catherine Larson, Donald R. Larson, Barbara Mujica, Susan Paun de García, Felipe B. Pedraza Jiménez, Veronika Ryjik, Jonathan Thacker, Laura L. Vidler, Duncan Wheeler, Amy Williamsen, Jason Yancey
This volume presents ten plays by three leading women playwrights of Spain’s Golden Age. Included are four bawdy and outrageous comic interludes; a full-length comedy involving sorcery, chivalry, and dramatic stage effects; and five short religious plays satirizing daily life in the convent. A critical introduction to the volume positions these women and their works in the world of seventeenth-century Spain.
Lope de Vega (1562-1635), widely regarded as the architect of the drama of the Spanish Golden Age, was known by his contemporaries as the `monster of Nature' on account of his creativity as a playwright. Claiming to have written more than a thousand plays, he created plots and characters notable for their energy, inventiveness and dramatic power, and which, in contrast to French classical drama, combine the serious and the comic in their desire to imitate life. Fuente Ovejuna, based on Spanish history, and revealing how tyranny leads to rebelliion, is perhaps his best-known play. The Knight from Olmedo is a moving dramatization of impetuous and youthful passion which ends in death. Punishment without Revenge, Lope's most powerful tragedy, centres on the illicit relationship of a young wife with her stepson and the revenge of a dishonoured husband. These three plays, grouped here in translations which are faithful to the original Spanish, vivid and intended for performance, embody the very best of Lope's dramatic art. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
"This volume collects three translations and free adaptations by US Latina playwright Caridad Svich of three spirited Spanish Golden Age comedies of love, war, and sexual identity by Maria Zayas de Sotomayor, Lope de Vega, and Calderon de la Barca"--P. [4] of cover.
A sumptuous history of Golden Age Spain that explores the irresistible tension between heavenly and earthly realms. Incomparable Realms offers a vision of Spanish culture and society during the so-called Golden Age, the period from 1500 to 1700 when Spain unexpectedly rose to become the dominant European power. But in what ways was this a Golden Age, and for whom? The relationship between the Habsburg monarchy and the Roman Catholic Church shaped the period, with both constructing narratives to bind Spanish society together. Incomparable Realms unpicks the impact of these two historical forces on thought and culture and examines the people and perspectives such powerful projections sought to eradicate. The book shows that the tension between the heavenly and earthly realms, and in particular the struggle between the spiritual and the corporeal, defines Golden Age culture. In art and literature, mystical theology and moral polemic, ideology, doctrine, and everyday life, the problematic pull of the body and the material world is the unacknowledged force behind early modern Spain. Life is a dream, as the title of Calderón’s famous play of the period proclaimed, but there is always a body dreaming it.
This work focuses on rural community versions of Spanish Early Modern Theatre and deals with cultural heritage and the contemporary impact of Golden Age theatre on local rural communities. To this end, I examine the burgeoning of annual rural Golden Age theatre festivals that generate site-centered, non-professional productions of the plays, and revisit the conflict between tradition and innovation, between popular and high culture between authority of literary heritage and the people's right to the canon. The selection of Early Modern plays set in actual Spanish communities—Fuenteovejuna, El Alcalde de Zalamea, Numancia and Los tres blasones de España—renders an overview of the effect of these important works on their respective communities and focuses on the theatrical festivals as peripheral, subaltern, hybrid cultural phenomena. I take into consideration not only traditional and significant studies on these four renowned plays, but recent theories on staging, performance and popular reception and agency. The research involved crosses traditional disciplinary boundaries between literature, history, geography, and politics by centering on the appropriation and re-examination of a past that is continuously revised through contemporary performance, and which is adjusted to fit the needs and desires of the context in which it is interpreted. This diachronic approach allows for a new perspective on contemporary performances which question cultural politics, redefine tradition and transcend geo-political boundaries.