Preface Terms and Concepts: The Adaptation of Classical Texts for the Stage "Los senderos qu se bifurcan": Adaptation, Appropriation, and the Proliferation of Possibilities Interpretative Directing Games for the Golden Age Repertory Re-Make, Re-Mix, Re-Model Refundación Redux: Revisiting the Rewritten Comedia Pepe Estruch and the Performance of Golden Age Drama: International Relationships under Franco and Democratic Theatrical Cultures Thinking Globally, Acting Locally, and Performing Nationalism: Local, National, and Global Remakes of the Comedia Four Decades of the Chamizal Siglo de Oro Drama Festival and the Evolution of Comedia Performance Early Modern Dramaturgas : A Contemporary Performance History Adapting Lope de Vega for the English-Speaking Stage The Dog in the Manger : The Continuum of Transformation El Caballero de Olmedo : Los Barracos''s Baroque Gentleman Corpus Lorqui: Transformation and Transubstantiation in Los Barracos de Federico''s El caballero de Olmedo The Phoenix of Madrid : Calderón''s No hay burlas con el amor Reborn in Bath A Prince in Pittsburgh: "Recasting" a Contemporary Staging of The Constant Prince Directing Marta the Divine : Provocative Choices in the Service of the Story The Dramaturgy of Absence: Minding the Gaps in Tirso de Molina, Ana Caro, and Feliciana Enríquez Translations and Transgressions: Twenty-First Century Questions Regarding Zayas Comedia Actresses, Then and Now: The Case of Ana Caro''s Valor, agravio y mujer "Kinesthetic Empathy" and the Comedia Refundición Porous Boundaries: Novela or Comedia ? Lope de Vega and Lenfilm: The Dog in the Manger ''s Cross-Cultural Journey Classical Theater and Puppetry: La Máquina Real Remaking Moreto''s El Desdén con el desdén : From Author''s Text to Director''s Text Lope''s Peribáñez on the Lyric Stage A Musical Marta Appendix: Play Titles Cited Works Cited in Los Barracos de Federico''s El caballero de Olmedo The Phoenix of Madrid : Calderón''s No hay burlas con el amor Reborn in Bath A Prince in Pittsburgh: "Recasting" a Contemporary Staging of The Constant Prince Directing Marta the Divine : Provocative Choices in the Service of the Story The Dramaturgy of Absence: Minding the Gaps in Tirso de Molina, Ana Caro, and Feliciana Enríquez Translations and Transgressions: Twenty-First Century Questions Regarding Zayas Comedia Actresses, Then and Now: The Case of Ana Caro''s Valor, agravio y mujer "Kinesthetic Empathy" and the Comedia Refundición Porous Boundaries: Novela or Comedia ? Lope de Vega and Lenfilm: The Dog in the Manger ''s Cross-Cultural Journey Classical Theater and Puppetry: La Máquina Real Remaking Moreto''s El Desdén con el desdén : From Author''s Text to Director''s Text Lope''s Peribáñez on the Lyric Stage A Musical Marta Appendix: Play Titles Cited Works Citedta Appendix: Play Titles Cited Works Cited in Los Barracos de Federico''s El caballero de Olmedo The Phoenix of Madrid : Calderón''s No hay burlas con el amor Reborn in Bath A Prince in Pittsburgh: "Recasting" a Contemporary Staging of The Constant Prince Directing Marta the Divine : Provocative Choices in the Service of the Story The Dramaturgy of Absence: Minding the Gaps in Tirso de Molina, Ana Caro, and Feliciana Enríquez Translations and Transgressions: Twenty-First Century Questions Regarding Zayas Comedia Actresses, Then and Now: The Case of Ana Caro''s Valor, agravio y mujer "Kinesthetic Empathy" and the Comedia Refundición Porous Boundaries: Novela or Comedia ? Lope de Vega and Lenfilm: The Dog in the Manger ''s Cross-Cultural Journey Classical Theater and Puppetry: La Máquina Real Remaking Moreto''s El Desdén con el desdén : From Author''s Text to Director''s Text Lope''s Peribáñez on the Lyric Stage A Musical Marta Appendix: Play Titles Cited Works Cited in Los Barracos de Federico''s El caballero de Olmedo The Phoenix of Madrid : Calderón''s No hay burlas con el amor Reborn in Bath A Prince in Pittsburgh: "Recasting" a Contemporary Staging of The Constant Prince Directing Marta the Divine : Provocative Choices in the Service of the Story The Dramaturgy of Absence: Minding the Gaps in Tirso de Molina, Ana Caro, and Feliciana Enríquez Translations and Transgressions: Twenty-First Century Questions Regarding Zayas Comedia Actresses, Then and Now: The Case of Ana Caro''s Valor, agravio y mujer "Kinesthetic Empathy" and the Comedia Refundición Porous Boundaries: Novela or Comedia ? Lope de Vega and Lenfilm: The Dog in the Manger ''s Cross-Cultural Journey Classical Theater and Puppetry: La Máquina Real Remaking Moreto''s El Desdén con el desdén : From Author''s Text to Director''s Text Lope''s Peribáñez on the Lyric Stage A Musical Marta Appendix: Play Titles Cited Works Citedta Appendix: Play Titles Cited Works Citedta Appendix: Play Titles Cited Works Cited in Los Barracos de Federico''s El caballero de Olmedo The Phoenix of Madrid : Calderón''s No hay burlas con el amor Reborn in Bath A Prince in Pittsburgh: "Recasting" a Contemporary Staging of The Constant Prince Directing Marta the Divine : Provocative Choices in the Service of the Story The Dramaturgy of Absence: Minding the Gaps in Tirso de Molina, Ana Caro, and Feliciana Enríquez Translations and Transgressions: Twenty-First Century Questions Regarding Zayas Comedia Actresses, Then and Now: The Case of Ana Caro''s Valor, agravio y mujer "Kinesthetic Empathy" and the Comedia Refundición Porous Boundaries: Novela or Comedia ? Lope de Vega and Lenfilm: The Dog in the Manger ''s Cross-Cultural Journey Classical Theater and Puppetry: La Máquina Real Remaking Moreto''s El Desdén con el desdén : From Author''s Text to Director''s Text Lope''s Peribáñez on the Lyric Stage A Musical Marta Appendix: Play Titles Cited Works Citedta Appendix: Play Titles Cited Works Citedribáñez on the Lyric Stage A Musical Marta Appendix: Play Titles Cited Works Citedta Appendix: Play Titles Cited Works Cited.