Contents

pp v-vi

Illustrations

pp vii-x

Foreword

pp xi-xviii

Acknowledgements

pp xix-xxi

Productions

pp xxii-xxiv

Part I - Comedia on the Spanish Stage

pp 1-2

1 - Calderón and semiological self-exorcismEl médico de su honra (The Physician of his Honor)

pp 3-20

2 - Calderón and “l’illusion cinématographique” subverted Antes que todo es mi dama (Above all she's my lady)

pp 21-42

3 - Rojas and the interrogation of textual author(ity) La Celestina (The Spanish Bawd)

pp 43-58

4 - Calderón and the ideology of egalitarianism “más bien dado” El alcalde de Zalamea (The Mayor of Zalamea)

pp 59-76

5 - Tirso de Molina and “deadly” theatre El vergonzoso en palacio (The Shy Man at Court)

pp 77-92

6 - Lope's carnivalesque theatre of terror Fuenteovejuna (The Sheepwell)

pp 93-116

7 - Tirso and the restaging of eschatology El burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Stone Guest)

pp 117-133

8 - Lope's aspectuality and performativity El castigo sin venganza (Punishment Without Revenge)

pp 134-160

II - Comedia on the Anglo-American Stage

pp 161-162

9 - Calderón and “The Warrant of Womanhood” Life's a Dream (La vida es sueño)

pp 163-178

10 - Calderón and the contingency of radical tragedy The Painter of Dishonour (El pintor de su deshonra)

pp 179-202

11 - Lope and the problem of an ending Peribanez (Peribáñez y el comendador de Ocaña)

pp 203-219

12 - Lope and the politics of truth The Dog in the Manger (El perro del hortelano)

pp 220-244

III - French and Shakespearean Stage Connections

pp 245-246

13 - Lope and the masks of reality Pedro et le Commandeur (Peribáñez y el comendador de Ocaña)

pp 247-266

14 - Spanish appropriations of Shakespeare El mercader de Venecia (The Merchant of Venice)

pp 267-307

15 - French appropriation of Shakespeare Le Marchand de Venise (The Merchant of Venice)

pp 308-326

Bibliography

pp 327-352

Index

pp 353-368