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Prismatic Reflections on Spanish Golden Age Theater

Essays in Honor of Matthew D. Stroud


Edited By Gwyn E. Campbell and Amy R. Williamsen

This volume, organized in five major sections, honors the myriad scholarly contributions of Matthew D. Stroud to the field of Early Modern Spanish theater. Building upon Stroud’s seminal studies, each section of essays simultaneously claims and wrestles with aspects of the rich legacy generated by his explorations. The essays included in this volume consider the moral, ethical, and legal backdrop of uxoricide, explorations of the meaningful intersections of psychoanalytic theory and the comedia, and engage the topics of women, gender, and identity. They also bridge the gap between dramatist and actors and between page and stage as they consider everything from the physical demands on Early Modern actresses to the twenty-first-century performance possibilities of comedias. Moreover, these essays incorporate studies that transcend temporal, spatial, political, and cultural limits, continuing to push at the edges of traditional scholarship characteristic of Stroud’s pioneering research. Both scholars and students will find this cohesive, compelling collection of interest across a wide spectrum of disciplines from theater history to performance studies, from philosophy to queer studies.
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“Nada me digas”: Silencing and Silence in Comedia Domestic Relationships


SUSAN L. FISCHER Bucknell University

“Nada me digas … Ya sé que querrás decirme” (III.2825, 2827) [Not another word … I know exactly what you’re thinking (Johnston and Boswell 113)] states a confidently unaware Don Luis, silencing his son Don Álvaro and presumptuously projecting his own thoughts onto him when the latter attempts to explain “todo el suceso” (III.2823), the whole matter, in Calderón’s El pintor de su deshonra [The Painter of His Dishonour].1 This “infelicitous” performative that “misfires,” to use J. L. Austin’s terminology in How to Do Things with Words, is hardly unexpected if we have been reading the signifieds in the protuberating stories of the gracioso or “fool,” Juanete, which were either hushed or fell upon deaf ears throughout the action (see Fischer, “Function”). We all know the inevitable outcome of that lapse in communication dictated by received social constraints of reputation and a practice of silencing those who are presumed not to be in the know: a wife murder lauded by the authorities-that-be, because the husband’s imagined (or “painted”) (dis)honor is arguably restored in a final and inevitable spectacle of deafness and silence.

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