This bilingual anthology brings together a collection of Spanish entremeses, the comic interludes that were performed between the acts of a comedia. Penned by authors such as Lope de Rueda, Cervantes, Calderón, Quevedo, and Quiñones de Benavente, many of these plays appear here for the first time in English. Translated for performability, these plays create a panoramic view of one-act plays from Spain’s classical theater period. Presented with discussions of dramaturgical and performance possibilities and difficulties, including relevant historical, cultural, and social information for the plays, the collection opens with two precursors to the entremés, moves through the breadth of the entremés form, and concludes with works from the 18th century, including a sainete. There are also examples of trans-adaptation that show how these works can be interpreted through strong directorial concepts that relocate the plays in historical time and location. The selected titles raise challenges to social mores and expectations, surprise with their humor, and delight with their stagecraft. Whether aimed at the classroom or the stage, the collection is valuable for research, pedagogy, and performance.

Some writers present her as a representative of the symbolic order: invested with sacred powers and ultimate authority, she rebukes transgressors and negotiates their return to God's grace and lawful society."--Jacket.

Previously published as a special issue of The Bulletin of Spanish Studies, The Eighteenth-Century Theatre in Spain is the second in a series of research bibliographies on the Theatre in Spain. Representing ten years of searches and compilation by its specialist authors, this volume draws together data on more than 1,500 books, articles and documents concerned with Spanish eighteenth-century theatre. Studies of plays and playwrights are included as well as material dealing with theatres, actors and stagecraft. Wherever possible, items listed have been personally examined, and their library location in Britain, Spain or USA is provided. Scholars with interests in drama will find in this single-volume work of reference a wealth of reliable information concerning this specialist field.

In Spain, the two hundred years that elapsed between the beginning of the early modern period and the final years of the Habsburg Empire saw a profusion of works written by women. Whether secular or religious, noble or middle class, early modern Spanish women actively composed creative works such as poetry, prose narratives, and plays. The Routledge Research Companion to Early Modern Spanish Women Writers covers the broad array of different kinds of writings – literary as well as extra-literary – that these women wrote, taking into consideration their subject positions and the cultural and historical contexts that influenced and were influenced by them. Beyond merely recognizing the individual women authors who had influence in literary, religious, and intellectual circles, this Research Companion investigates their participation in these circles through their writings, as well as the ways in which their texts informed Spain’s cultural production during the early modern period. In order to contextualize women’s writings across the historical and cultural spectrum of early modern Spain, the Research Companion is divided into six sections of general thematic interest: Women’s Worlds; Conventual Spaces; Secular Literature; Women in the Public Sphere; Private Circles; Women Travelers. Each section is subdivided into chapters that focus on specific issues or topics.

This volume presents an overview of the issues and critical debates in the field of women's studies, including original essays by pioneering scholars as well as by younger specialists. New pathfinding models of theoretical analysis are balanced with a careful revisiting of the historical foundations of women's studies.

"The book contains a comprehensive introduction that describes Spanish theater in its Golden Age, what is known of the author’s life and times, contemporary stagings, and an extensive analysis of the text. The story unfolds as a cross between a jilted-lover scenario and a whodunit murder mystery. A woman laments her departed lover, a sister cross-dresses to avenge her murdered brother, a man duels with his cousin over lost honor, and before long, the dead man turns up as a ghost, or a bar maid, or a female peddler. Questions about identity abound in the witty El muerto disimulado / Presumed Dead. The transnational nature of this clever comedy complicates meanings, often producing bilingual wordplay that underscores the self-conscious, gender-bending, ludic character of the play and of theater in general."--