How should a seventeenth-centry Spanish verse play be presented to a contemporary English-speaking audience?

How should a seventeenth-centry Spanish verse play be presented to a contemporary English-speaking audience?

For many reasons, but most usually the lack of playable modern translations, the plays of the seventeenth-century SpanishComedia have appeared infrequently on the stages of the English-speaking world. Once such translations began to appear in the final decades of the twentieth century, productions followed and audiences were once again given the opportunity of discovering the enormous riches of this theatre.
The bringing of Spanish seventeenth-century verse plays to the contemporary English-speaking stage involves a number of fundamental questions. Are verse translations preferable to prose, and if so, what kind of verse? To what degree should translations aim to be "faithful"? Which kinds of plays "work", and which do not? Which values and customs of the past present no difficulties for contemporary audiences, and which need to be decoded in performance? Which kinds of staging are suitable, and which are not? To what degree, if any, should one aim for "authenticity" in staging? And so on.
In this volume, a distinguished group of translators, directors, and scholars explores these and related questions in illuminating and thought-provoking essays.

EDITORS: Susan Paun de García and Donald Larson are Associate Professors of Spanish at the Universities of Denison and Ohio State respectively. OTHER CONTRIBUTORS: Isaac Benabu, Catherine Boyle, Victor Dixon, Susan Fischer, Michael Halberstam, David Johnston, Catherine Larson, A. Robert Lauer, Dakin Matthews, Anne McNaughton, Barbara Mujica, James Parr, Dawn Smith, Jonathan Thacker, Sharon Voros

TheComedia in English: An Overview of Translation and Performance
TranslatingComedias into English Verse for Modern Audiences - Dakin Matthews
Translating the PolymetricComedia for Performance [with Special Ref erence to Lope de Vega's Sonnets] - Victor Dixon
Lope de Vega in English: The Historicised Imagination - David Johnston
Found in Translation: María de Zaya'sFriendship Betrayed and the En glish-Speaking Stage - Catherine Larson
Transformation and Fluidity in the Translation of Classical Texts for Perfo rmance: The Case of Cervantes'sEntremeses - Dawn L. Smith
Translation as Relocation - Ben Gunter
RehearsingSpite for Spite - Michael Halberstam
DirectingDon Juan, The Trickster Of Seville - Anne McNaughton
Directing theComedia: Notes on a Process
Tirso's Tamar Untamed: A Lesson of the Royal Shakespeare Company's Producti on - Jonathan W. Thacker
The Loss of Context and the Traps of Gender in Sor Juana'sLos empeños de una casa/House of Desires - Catherine M. Boyle
Tirso'sBurlador de Sevilla as Playtext in English - James Parr
Anne McNaughton'sDon Juan: A Rogue for All Seasons - A. Robert Lauer
Aspectual, Performative, and "Foreign" Lope/Shakespeare: StagingCapulet s & Montagues andPeribáñez in English andRomeo and Juliet in "Sicilian"I> in "Sicilian" - Susan L. Fischer
Zaya's Comic Sense: The First Performance in English of La traición en la amistad - Sharon D Voros
María de Zaya's Friendship Betrayed à la Hollywood: Translation, Transculturation, and Production - Barbara Mujica