Women’s equality, cross dressing, homoerotic desire—all the makings of a twenty-firstcentury comedy—were the focus of a seventeenth century play by Lope de Vega, La prueba de los ingenios (1612?-1613?). In the last two decades, interest in this work has increased considerably. Evidence of the rising popularity of the play is an English-language adaptation by Caridad Svich, which she titled The Labyrinth of Desire. The professional production at Miracle Theatre is the focus of this study. After a brief discussion of the homoerotic theme of the work and general issues of the translation and/or adaptation of the Comedia, I will then examine some of the specific changes Svich made to Lope’s original work in her adaptation and will use my class ...
[EN]This article focuses on La inocente Laura, a play written by Lope de Vega in the first decade of...
This article discusses the reception of Lope de Vega’s work, specifically his dramatic compositions,...
If we rethink our traditional readings of the comedia as a conformist genre, we discover that gender...
La prueba was first published in 1617, when Lope included it as the first play of the first collecti...
Submitted in partial fulfillment of the requirements for the degree of Master of ArtsText from prefa...
This book offers the reader for the first time in English some of Joan Oleza’s most representative e...
The adaptations made by one of today�s most eminent playwrights, Juan Mayorga, on the texts by Lope ...
This study analyses gender in three of Tirso de Molina’s comedias urbanas and their subsequent perfo...
Transferring work from one culture to another through translation or adaptation is a delicate proces...
Guillén de Castro's play La fuerza de la costumbre (1625) depicts the process of re-teaching gender ...
La perception de Lope de Vega en France au XVIIe siècle est marquée par de profondes contradictions....
This contribution focuses on Lope’s conquest of Amsterdam’s Grand Theater in the 40s and 50s of the ...
Lope de Vega’s <em>corpus</em> of plays is one of the most studied of Spanish Baroque theater, altho...
Some considerations on feminine protagonism in the plays of Lope de Vega, with particular attention ...
The Comedia Seraphina, one of Torres Naharro\u27s first works, has been given little attention in th...
[EN]This article focuses on La inocente Laura, a play written by Lope de Vega in the first decade of...
This article discusses the reception of Lope de Vega’s work, specifically his dramatic compositions,...
If we rethink our traditional readings of the comedia as a conformist genre, we discover that gender...
La prueba was first published in 1617, when Lope included it as the first play of the first collecti...
Submitted in partial fulfillment of the requirements for the degree of Master of ArtsText from prefa...
This book offers the reader for the first time in English some of Joan Oleza’s most representative e...
The adaptations made by one of today�s most eminent playwrights, Juan Mayorga, on the texts by Lope ...
This study analyses gender in three of Tirso de Molina’s comedias urbanas and their subsequent perfo...
Transferring work from one culture to another through translation or adaptation is a delicate proces...
Guillén de Castro's play La fuerza de la costumbre (1625) depicts the process of re-teaching gender ...
La perception de Lope de Vega en France au XVIIe siècle est marquée par de profondes contradictions....
This contribution focuses on Lope’s conquest of Amsterdam’s Grand Theater in the 40s and 50s of the ...
Lope de Vega’s <em>corpus</em> of plays is one of the most studied of Spanish Baroque theater, altho...
Some considerations on feminine protagonism in the plays of Lope de Vega, with particular attention ...
The Comedia Seraphina, one of Torres Naharro\u27s first works, has been given little attention in th...
[EN]This article focuses on La inocente Laura, a play written by Lope de Vega in the first decade of...
This article discusses the reception of Lope de Vega’s work, specifically his dramatic compositions,...
If we rethink our traditional readings of the comedia as a conformist genre, we discover that gender...