Content Notes: Prologue; Introduction; I: Translation; 1 Performing Translation: The (Dangerous) Mobilities of Cultural Identity; 2 "Eking Out" Performance with the Mind; 3 The Translation of La vida es sueño for a Twenty-First-Century Anglophone Audience; 4 Translating Hamlet for the Spanish Actor; II: Interpretation; 5 The High Anxiety of Influence: Caro, Zayas, Sor Juana, and the New Arts; 6 Versions of the Battle of Cádiz, 1625; 7 Polyphony and Calderón de la Barca's La dama duende; 8 The Portrait of a Pious Widow: Francisco de Ribalta and Lope de Vega's La viuda valenciana.
Content Notes: 9 Women Tame and Untamed: Two Dutiful Daughters in the Romance de la doncella guerrera and Luis Vélez de Guevara's La serrana de la Vera10 Cultural Capital and Comedy: Talking Heads in Guillén de Castro's Las mocedades del Cid; 11 Shakespeare's Imagination; III: Performance; 12 Constructing Stage Character: The Duke of Ferrara in Lope de Vega's El castigo sin venganza; 13 Facing the Music: Introducing Song into the Comedia; 14 The Autonomy of Henry IV, Part Two; 15 Staging Options in the Early Texts of Hamlet; Selected Publications of Susan L. Fischer; Bibliography; Index.
Notes: About the Contributors.
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