Contents

pp v-vi

Preface

pp vii-xiv

List of Contributors

pp xv-xviii

Acknowledgements

pp xix-xx

Introduction: The Comedia in English: An Overview of Translation and Performance

pp 1-34

Translating and Adapting the Comedia

pp 35-36

Translating Comedias into English Verse for Modern Audiences

pp 37-53

Translating the Polymetric Comedia for Performance (with Special Reference to Lope de Vega's Sonnets)

pp 54-65

Lope de Vega in English: The Historicised Imagination

pp 66-82

Found in Translation: María de Zayas's Friendship Betrayed and the English-Speaking Stage

pp 83-94

Transformation and Fluidity in the Translation of Classical Texts for Performance: The Case of Cervantes's Entremeses

pp 95-107

Translation as Relocation

pp 108-124

Directing and Contextualizing the Comedia

pp 125-126

Rehearsing Spite for Spite

pp 127-139

Directing Don Juan, The Trickster of Seville

pp 140-152

Directing the Comedia: Notes on a Process

pp 153-163

Tirso's Tamar Untamed: A Lesson of the Royal Shakespeare Company's Production

pp 164-176

The Loss of Context and the Traps of Gender in Sor Juana's Los empeños de una casa / House of Desires

pp 177-186

Viewing and Reviewing the Comedia

pp 187-188

Tirso's Burlador de Sevilla as Playtext in English

pp 189-201

Anne McNaughton's Don Juan: A Rogue for All Seasons

pp 202-213

Aspectual, Performative, and “Foreign” Lope / Shakespeare: Staging Capulets & Montagues and Peribáñez in English and Romeo and Juliet in “Sicilian”

pp 214-228

Zayas's Comic Sense: The First Performance in English of La traiciónen la amistad

pp 229-239

María de Zayas's Friendship Betrayed à la Hollywood: Translation, Transculturation, and Production

pp 240-254

Works Cited

pp 255-276

Index

pp 277-295