Professor of Spanish, Denison University

• PrefaceTerms and Concepts: The Adaptation of Classical Texts for the Stage"Los senderos qu se bifurcan": Adaptation, Appropriation, and the Proliferation of PossibilitiesInterpretative Directing Games for the Golden Age RepertoryRe-Make, Re-Mix, Re-ModelRefundación Redux: Revisiting the Rewritten ComediaPepe Estruch and the Performance of Golden Age Drama: International Relationships under Franco and Democratic Theatrical CulturesThinking Globally, Acting Locally, and Performing Nationalism: Local, National, and Global Remakes of the ComediaFour Decades of the Chamizal Siglo de Oro Drama Festival and the Evolution of Comedia PerformanceEarly Modern Dramaturgas: A Contemporary Performance HistoryAdapting Lope de Vega for the English-Speaking StageThe Dog in the Manger: The Continuum of TransformationEl Caballero de Olmedo: Los Barracos's Baroque GentlemanCorpus Lorqui: Transformation and Transubstantiation in Los Barracos de Federico's El caballero de OlmedoThe Phoenix of Madrid: Calderón's No hay burlas con el amor Reborn in BathA Prince in Pittsburgh: "Recasting" a Contemporary Staging of The Constant PrinceDirecting Marta the Divine: Provocative Choices in the Service of the StoryThe Dramaturgy of Absence: Minding the Gaps in Tirso de Molina, Ana Caro, and Feliciana EnríquezTranslations and Transgressions: Twenty-First Century Questions Regarding ZayasComedia Actresses, Then and Now: The Case of Ana Caro's Valor, agravio y mujer"Kinesthetic Empathy" and the Comedia RefundiciónPorous Boundaries: Novela or Comedia?Lope de Vega and Lenfilm: The Dog in the Manger's Cross-Cultural JourneyClassical Theater and Puppetry: La Máquina RealRemaking Moreto's El Desdén con el desdén: From Author's Text to Director's TextLope's Peribáñez on the Lyric StageA Musical MartaAppendix: Play Titles CitedWorks Cited

Professor of Spanish, Denison University

• PrefaceTerms and Concepts: The Adaptation of Classical Texts for the Stage"Los senderos qu se bifurcan": Adaptation, Appropriation, and the Proliferation of PossibilitiesInterpretative Directing Games for the Golden Age RepertoryRe-Make, Re-Mix, Re-ModelRefundación Redux: Revisiting the Rewritten ComediaPepe Estruch and the Performance of Golden Age Drama: International Relationships under Franco and Democratic Theatrical CulturesThinking Globally, Acting Locally, and Performing Nationalism: Local, National, and Global Remakes of the ComediaFour Decades of the Chamizal Siglo de Oro Drama Festival and the Evolution of Comedia PerformanceEarly Modern Dramaturgas: A Contemporary Performance HistoryAdapting Lope de Vega for the English-Speaking StageThe Dog in the Manger: The Continuum of TransformationEl Caballero de Olmedo: Los Barracos's Baroque GentlemanCorpus Lorqui: Transformation and Transubstantiation in Los Barracos de Federico's El caballero de OlmedoThe Phoenix of Madrid: Calderón's No hay burlas con el amor Reborn in BathA Prince in Pittsburgh: "Recasting" a Contemporary Staging of The Constant PrinceDirecting Marta the Divine: Provocative Choices in the Service of the StoryThe Dramaturgy of Absence: Minding the Gaps in Tirso de Molina, Ana Caro, and Feliciana EnríquezTranslations and Transgressions: Twenty-First Century Questions Regarding ZayasComedia Actresses, Then and Now: The Case of Ana Caro's Valor, agravio y mujer"Kinesthetic Empathy" and the Comedia RefundiciónPorous Boundaries: Novela or Comedia?Lope de Vega and Lenfilm: The Dog in the Manger's Cross-Cultural JourneyClassical Theater and Puppetry: La Máquina RealRemaking Moreto's El Desdén con el desdén: From Author's Text to Director's TextLope's Peribáñez on the Lyric StageA Musical MartaAppendix: Play Titles CitedWorks Cited

Professor of Spanish, Denison University

• PrefaceTerms and Concepts: The Adaptation of Classical Texts for the Stage"Los senderos qu se bifurcan": Adaptation, Appropriation, and the Proliferation of PossibilitiesInterpretative Directing Games for the Golden Age RepertoryRe-Make, Re-Mix, Re-ModelRefundación Redux: Revisiting the Rewritten ComediaPepe Estruch and the Performance of Golden Age Drama: International Relationships under Franco and Democratic Theatrical CulturesThinking Globally, Acting Locally, and Performing Nationalism: Local, National, and Global Remakes of the ComediaFour Decades of the Chamizal Siglo de Oro Drama Festival and the Evolution of Comedia PerformanceEarly Modern Dramaturgas: A Contemporary Performance HistoryAdapting Lope de Vega for the English-Speaking StageThe Dog in the Manger: The Continuum of TransformationEl Caballero de Olmedo: Los Barracos's Baroque GentlemanCorpus Lorqui: Transformation and Transubstantiation in Los Barracos de Federico's El caballero de OlmedoThe Phoenix of Madrid: Calderón's No hay burlas con el amor Reborn in BathA Prince in Pittsburgh: "Recasting" a Contemporary Staging of The Constant PrinceDirecting Marta the Divine: Provocative Choices in the Service of the StoryThe Dramaturgy of Absence: Minding the Gaps in Tirso de Molina, Ana Caro, and Feliciana EnríquezTranslations and Transgressions: Twenty-First Century Questions Regarding ZayasComedia Actresses, Then and Now: The Case of Ana Caro's Valor, agravio y mujer"Kinesthetic Empathy" and the Comedia RefundiciónPorous Boundaries: Novela or Comedia?Lope de Vega and Lenfilm: The Dog in the Manger's Cross-Cultural JourneyClassical Theater and Puppetry: La Máquina RealRemaking Moreto's El Desdén con el desdén: From Author's Text to Director's TextLope's Peribáñez on the Lyric StageA Musical MartaAppendix: Play Titles CitedWorks Cited