Shakespeare And The Spanish Comedia

Shakespeare and the Spanish Comedia is a nearly unique transnational study of the theater / performance traditions of early modern Spain and England. Divided into three parts, the book focuses first on translating for the stage, examining diverse approaches to the topic. It asks, for example, whether plays should be translated to sound as if they were originally written in the target language or if their “foreignness” should be maintained and even highlighted. Section II deals with interpretation and considers such issues as uses of polyphony, the relationship between painting and theater, and representations of women. Section III highlights performance issues such as music in modern performances of classical theater and the construction of stage character. Written by a highly respected group of British and American scholars and theater practitioners, this book challenges the traditional divide between the academy and the stage and between one theatrical culture and another.

This issue of Bucknell Review is devoted to comparative studies of Shakespeare and seventeenth-century Spanish dramatists. The essays provide insight into Spanish drama of the Golden Age and by examining Shakespeare's plays in this unusual context suggest a direction for future research.

Leading Golden Age theatre experts examine the ways that comedias have been adapted and reinvented, offering a broad performance history of the genre for scholars and practicioners alike.

"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? In this volume, a group of translators, directors, and scholars explores these and related questions."--Jacket

Concerned with the conventionally comic representation of evil on the English Renaissance stage.

Como gustéis es una comedia pastoral de William Shakespeare que se cree que fue escrita en 1599 y publicada por primera vez en el Primer Folio en 1623. La primera representación de la obra es incierta, aunque se ha sugerido como posibilidad una representación en Wilton House en 1603. Los lectores y el público llevan mucho tiempo saludando con deleite As You Like It. Sus personajes son brillantes conversadores, entre ellos las princesas Rosalinda y Celia y su bufón, Touchstone. Poco después de que Rosalinda y Orlando se conozcan y se enamoren, las princesas y Touchstone se exilian al bosque de Arden, donde encuentran nuevos compañeros de conversación. El duque Federico, hermano menor del duque padre, ha derrocado a su hermano y le ha obligado a vivir sin hogar en el bosque con sus cortesanos, entre ellos el cínico Jaques. Orlando, cuyo hermano mayor, Oliver, tramó su muerte, también ha huido allí.