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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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“Más valéis vos, Antona”: Worthy Wives in Lope, Tirso, and Cañizares


SUSAN PAUN DE GARCÍA Denison University

As scholars engaged in dramaturgical analysis, we face important choices in our attempts to provide ways to connect readers, directors, and audiences with Early Modern plays. How can we uncover ways in which the written text intersects with daily lived experiences? The authors of The Process of Dramaturgy. A Handbook recommend assembling a production history, a resource that allows us “to get a quick sense of what was happening within both global society and popular culture at the time the show opened … so that the director, performers, and designers alike can see what might have had direct influence not only on the play text but also the performance text at any given time” (Irelan, Fletcher, and Dubliner xii). This imperative becomes doubly important when the play in question is itself based on history.

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