Overview

Oscar Wilde once observed that 'it is the spectator, and not life, that art really mirrors'. This thought is borne out in this volume, which brings together two different and often mutually exclusive constituencies: the academic critic and the theatre practitioner. In looking at the ways in which theatre is a barometer of society, the essays in this book form part of a larger theoretical inquiry into performance as interpretation, contingent upon the cultural context. Engaging with theoretical approaches to culture, and theoreticians from Elam to Brook, and from Derrida to Bakhtin, the author analyzes in detail productions of plays by Lope de Vega, Tirso de Molina, and Calderon de la Barca, as well as an adaptation of Rojas' Celestina/I>, on the Spanish, or French, or Anglo-American stage. Two chapters deal with appropriations of Shakespeare's Merchant of Venice in translation on the Spanish and French boards.As they read performance in (trans)national productions, these essays are not only at the cutting-edge of theatre studies on the 'foreign' stage, but they also bring Spanish Golden-Age plays, long neglected by professional directors of the classics because of the lack of a continuous performance tradition, closer to assuming their rightful place amongst 'the great theatre of the world'. SUSAN L. FISCHER is Professor of Spanish and Comparative Literature at Bucknell University. The cover design is ...and is reproduced with kind permission of ..

Full Product Details

Author:   Susan L Fischer (Contributor)
Publisher:   Boydell & Brewer Ltd
Imprint:   Tamesis Books
Volume:   v. 272
Dimensions:   Width: 15.60cm , Height: 3.10cm , Length: 23.40cm
Weight:   0.948kg
ISBN:  

9781855661813

ISBN 10:   1855661810
Pages:   392
Publication Date:   15 May 2009
Audience:   College/higher education ,  Postgraduate, Research & Scholarly
Format:   Hardback
Publisher's Status:   Active
Availability:   Out of stock  
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Table of Contents

"Calderón and Semiological Self-Exorcism: El médico de su honra Calderón and ""L'Illusion Cinématographique"" Subverted: Antes que todo es mi dama Rojas and the Interrogation of Textual Author(ity): La Celestina Calderón and the Ideology of Egalitarianism ""Más bien dado"": El alcalde de Zalamea Tirso and ""Deadly"" Theatre: El vergonzoso en palacio Lope's Carnivalesque Theatre of Terror: Fuenteovejuna Tirso and the Restaging of Eschatology: El burlador de Sevilla y convidado de piedra Lope's Aspectuality and Performativity: El castigo sin venganza Calderón and the ""Warrant of Womanhood"": Life's a Dream Calderón and the Contingency of Radical Tragedy: The Painter of Dishonour Lope and the Problem of an Ending: Peribanez Lope and the Politics of Truth: The Dog in the Manger Lope and the Masks of Reality: Pedro et le Commandeur Spanish Appropriations of Shakespeare: El mercader de Venecia French Appropriations of Shakespeare: Le marchand de Venise"

Reviews

(O)f major interest to those who study translation, broadly conceived.an exciting and innovative collection for readers in theater studies, translation, and performance. BULLETIN OF THE COMEDIANTESBR> (T)his compilation represents a compelling example of the importance of the performative context for the study of theatre (...) Fischer's descriptions of lighting, staging, and costumes and the 15 black-and-white photographs of performances also prove valuable for researchers. Recommended. CHOICE

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