This issue is the second and final installment of “Marginality in Spanish Theater.” The four articles included in the final issue of the previous volume of Romance Quarterly (65.4, 2018) and the four articles making up this issue are dedicated to analyzing marginality as a complex framework with various manifestations in Spanish theater, while at the same time reflecting on the place of Spanish theater studies within North American academia. As stated in the introduction to the previous special issue, our work goes beyond the traditional division of the study of theater into historical periods to ask a new set of questions pertinent to theater criticism about circulation, production, adaptation, acting, audience, and censorship. Articles in the first part of these dual special issues explore negotiations of marginal subjectivities in the realms of gender, sexuality, race, and identity. In this second issue, 66.1, articles explore marginality as it functions both in the division of space and in subject positioning within social space. Exclusion occurs in city and rural planning and in the crossover of imaginary or real boundaries. Antonio Guijarro-Donadi os starts by addressing the former through an exploration of the image of a courtly and cosmopolitan Madrid that enjoyed an intense cultural life, where a great deal of gold was spent on luxurious courtly festivals and where, at the same time, a marginal community of beggars, thieves, soldiers, gamblers, prostitutes, and black people lived and made a living, even by cooking cats to survive. Guijarro-Donadi os inquires into the representation of this underworld in seventeenth-century Spanish short theater as a space of conflict from which new ways of speaking, living, writing, and reinventing urban landscapes arose. David Rodr ıguez-Sol as proposes a reassessment of the limits of theater historiography, which is traditionally concerned with the preservation of plays as finished products, but also restrains its scope to professional theater in Madrid and Barcelona. His article studies one of the most representative plays of the teatro independiente, the alternative theater movement that altered performance practices in Spain in the 1970s: Oratorio, a play by Teatro Estudio Lebrijano. This work grew out of the actors’ performances over the course of three years before an audience of Andalusian land workers who inadvertently contributed to the development of the scenes with their spontaneous reactions. Both actors and audiences performed acts of resistance that responded to explicit references to the Spanish Civil War and the incorporation of flamenco singing reassessed as protest music. The third essay takes into consideration spatial and dramatic boundaries that create exclusion—but, ironically, end up becoming inclusive—within the performative event itself. Margot Versteeg inquires into the career of Consuelo Tamayo Hern andez, “La Tortajada” (1867–1957), a diva skilled at self-fashioning. Whereas her presence on the Spanish stage was merely marginal, as a “Spanish dancer” she accomplished recognition in the

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西班牙戏剧的边缘化实践，第 2 部分：介绍

本期是“西班牙剧院的边缘”的第二期也是最后一期。上一卷《浪漫季刊》（65.4, 2018）最后一期收录的四篇文章以及构成本期的四篇文章致力于分析边缘性作为一个复杂的框架，在西班牙戏剧中具有多种表现形式，同时也反映了关于西班牙戏剧研究在北美学术界的地位。正如上一期特刊的介绍中所述，我们的工作超越了将戏剧研究划分为历史时期的传统划分，提出了一系列与戏剧批评有关的关于发行、制作、改编、表演、观众和审查的新问题。 . 这些双重特刊第一部分的文章探讨了在性别、性、种族和身份领域中边缘主体性的谈判。在第二期 66.1 中，文章探讨了边缘性，因为它在空间划分和社会空间内的主题定位中发挥作用。排斥发生在城市和农村规划以及想象或真实边界的交叉中。Antonio Guijarro-Donadi os 首先通过探索宫廷和国际化马德里的形象来解决前者的问题，该马德里享有强烈的文化生活，大量的黄金被用于奢华的宫廷节日，同时，乞丐、小偷、士兵、赌徒、妓女和黑人的边缘社区生活和谋生，甚至通过烹饪猫来生存。Guijarro-Donadi os 探究了 17 世纪西班牙短剧中这个黑社会的表现，作为一个冲突空间，从中产生了新的说话、生活、写作和重塑城市景观的方式。David Rodr ıguez-Sol 提议重新评估戏剧史学的局限性，传统上关注戏剧作为成品的保存，但也将其范围限制在马德里和巴塞罗那的专业剧院。他的文章研究了 1970 年代改变西班牙表演实践的另类戏剧运动独立剧院最具代表性的戏剧之一：Oratorio，由 Teatro Estudio Lebrijano 创作的戏剧。这项工作源于演员在三年时间里的表演，在安达卢西亚土地工人的观众面前，他们的自发反应无意中为场景的发展做出了贡献。演员和观众都进行了抵抗行为，以回应对西班牙内战的明确提及以及将弗拉门戈歌声重新评估为抗议音乐。第三篇文章考虑了空间和戏剧性的界限，这些界限在表演事件本身中产生了排斥——但具有讽刺意味的是，最终变得具有包容性。Margot Versteeg 探究了 Consuelo Tamayo Hern andez 的职业生涯，“La Tortajada”（1867-1957）是一位擅长自我塑造的天后。虽然她在西班牙舞台上的存在只是边缘，但作为“西班牙舞者”，她在 演员和观众都进行了抵抗行为，以回应对西班牙内战的明确提及以及将弗拉门戈歌声重新评估为抗议音乐。第三篇文章考虑了空间和戏剧性的界限，这些界限在表演事件本身中产生了排斥——但具有讽刺意味的是，最终变得具有包容性。Margot Versteeg 探究了 Consuelo Tamayo Hern andez 的职业生涯，“La Tortajada”（1867-1957）是一位擅长自我塑造的天后。虽然她在西班牙舞台上的存在只是边缘，但作为“西班牙舞者”，她在 演员和观众都进行了抵抗行为，以回应对西班牙内战的明确提及以及将弗拉门戈歌声重新评估为抗议音乐。第三篇文章考虑了空间和戏剧性的界限，这些界限在表演事件本身中产生了排斥——但具有讽刺意味的是，最终变得具有包容性。Margot Versteeg 探究了 Consuelo Tamayo Hern andez 的职业生涯，“La Tortajada”（1867-1957）是一位擅长自我塑造的天后。虽然她在西班牙舞台上的存在只是边缘，但作为“西班牙舞者”，她在 最终变得具有包容性——在表演事件本身中。Margot Versteeg 探究了 Consuelo Tamayo Hern andez 的职业生涯，“La Tortajada”（1867-1957）是一位擅长自我塑造的天后。虽然她在西班牙舞台上的存在只是边缘，但作为“西班牙舞者”，她在 最终变得具有包容性——在表演事件本身中。Margot Versteeg 探究了 Consuelo Tamayo Hern andez 的职业生涯，“La Tortajada”（1867-1957）是一位擅长自我塑造的天后。虽然她在西班牙舞台上的存在只是边缘，但作为“西班牙舞者”，她在