Reviewed by:

• Social Justice in Spanish Golden Age Theatre ed. by Erin Alice Cowling et al
• Margaret E. Boyle

IN A BOLD DEFENSE for the ongoing relevance of comedia studies as a field, this edited collection brings together more than twenty scholars and theater practitioners to actively reflect on the dynamic relationships between theater, politics, culture, and identity. The overall aim of the book is to explore best practices for engaging with early modern Spanish theater, both within the context of our classrooms as well as in the wider context of contemporary performance and adaptation. The essays assert the variety of ways these plays speak to both historical and contemporary understandings of justice and experiences of inequality.

Social Justice in Spanish Golden Age Theatre is divided into three parts. In part 1, a group of theater scholars provide textual analyses and close readings of ethics via comedias tied to race, class, and gender. The playwrights studied are both canonical and noncanonical, including Gaspar Aguilar, Ana Caro, Miguel de Cervantes, Sor Juana Inés de la Cruz, Alonso Jerónimo de Salas Barbadillo, and Luis Vélez de Guevara. Parts 2 and 3 focus on contemporary theater companies from the United States, Mexico, and Spain that adapt and perform early modern Spanish theater. Part 2 takes up how early modern plays are adapted for contemporary audiences. Part 3 comprises six short interviews with actors and directors from theater companies from the same wide geographic reach about process, intention, and futures of staging the comedia. Taken as a whole, these materials provide rich pedagogical resources. As an example, the textual analyses in part 1 could be easily paired to readings of comedias assigned in the classroom, or could model strategies of engagement for a course instructor working with one of these plays for the first time.

As an alternate example, the visual and textual descriptions of contemporary adaptations serve as gateways to engage students in the materiality of staging and performance. Contemporary adaptations include works responding to superstars Calderón de la Barca, Cervantes, and Lope de Vega, among others. The vibrant descriptions of production, including set design and costuming in Nieto-Cuebas’s chapter, are supported by two [End Page 95] photos from the production of El coloquio de los perros (see pp. 146, 148) to aid with visualization. Finally, the collection of interviews at the closing of the book introduces readers to an alternate genre of intellectual and professional discourse that captures the lived experience of theatermakers at the time of publication. It is worth mentioning how the translation of interviews from Spanish to English with prominent theater professionals including Natalia Menéndez (Almagro Festival, Spain) and Fernando Villa Proal (Efe Tres Teatro, Mexico City) supports the book’s important work in bringing in anglophone audiences who may be less familiar with the comedia. The interviews provide concrete details about the day-to-day practice and larger ideals tied to contemporary adaptation of early modern Spanish theater, including responses to financial pressures and marketing, as well as changes made to the performance experience related to accessibility, equity, and inclusion for theater patrons.

The introduction to the book gives context for how the volume came to life in response to Matthew Stroud’s 2016 plenary for the Association for Hispanic Classical Theater (AHCT), “Why the Comedia?”. As the editors explain, “Stroud makes three recommendations that we [the co-editors of this edition] have taken to heart” (4): highlighting connections between the early modern and our present, including academics and theater practicioners at various stages in their careers, foregrounding the relevance of comedias, and widening established canons. Although the editors summarize Stroud’s advice in the introduction to the book, it would have been useful to reproduce the plenary in full as part of the volume’s framework. Moving out from the specificity of AHCT, the collection engages broadly with theories of social justice, via histories of radical feminisms within the United States, including recent interventions from the field of sociology by...

审核人：

• 西班牙黄金时代剧院的社会正义编辑。通过艾琳爱丽丝考林等人
• 玛格丽特·E·博伊尔

为了大胆捍卫喜剧研究作为一个领域的持续相关性，这个编辑的集合汇集了 20 多名学者和戏剧从业者，积极反思戏剧、政治、文化和身份之间的动态关系。这本书的总体目标是探索与早期现代西班牙戏剧互动的最佳实践，无论是在我们的课堂背景下，还是在当代表演和改编的更广泛背景下。这些文章断言这些戏剧以各种方式讲述历史和当代对正义的理解和不平等的经历。

西班牙黄金时代剧院的社会正义分为三个部分。在第 1 部分中，一组戏剧学者通过与种族、阶级和性别相关的喜剧提供文本分析和伦理细读。研究的剧作家既有经典剧作家，也有非经典剧作家，包括加斯帕·阿吉拉尔、安娜·卡罗、米格尔·德·塞万提斯、索尔·胡安娜·伊内斯·德拉克鲁兹、阿隆索·热罗尼莫·德·萨拉斯·巴巴迪略和路易斯·贝莱斯·德·格瓦拉。第 2 部分和第 3 部分重点介绍来自美国、墨西哥和西班牙的当代剧院公司，他们改编和表演早期现代西班牙戏剧。第 2 部分介绍了早期现代戏剧如何适应当代观众。第 3 部分包括对来自相同地理范围的剧院公司的演员和导演的六次简短采访，内容涉及制作喜剧的过程、意图和未来。总的来说，这些材料提供了丰富的教学资源。

作为另一个例子，当代改编的视觉和文字描述是让学生参与舞台和表演的重要性的途径。当代改编作品包括响应超级巨星 Calderón de la Barca、Cervantes 和 Lope de Vega 等人的作品。对生产的生动描述，包括 Nieto-Cuebas 章节中的布景设计和服装，由El coloquio de los perros生产的两张[End Page 95]照片支持（参见第 146、148 页）以帮助进行可视化。最后，本书结尾处的采访集向读者介绍了另一种知识和专业话语类型，它捕捉了出版时戏剧制作人的生活经验。值得一提的是，将包括 Natalia Menéndez（西班牙阿尔马格罗音乐节）和 Fernando Villa Proal（墨西哥城 Efe Tres Teatro）在内的著名戏剧专业人士的访谈从西班牙语翻译成英语如何支持这本书在吸引英语观众方面的重要工作，这些观众可能对喜剧不太熟悉。采访提供了有关与早期现代西班牙戏剧的当代改编相关的日常实践和更大理想的具体细节，包括对财务压力和营销的反应，

本书的介绍为回应马修·斯特劳德 (Matthew Stroud) 为西班牙古典戏剧协会 (AHCT) 举办的 2016 年全体会议“为什么是喜剧？”提供了背景信息。正如编辑所解释的那样，“Stroud 提出了我们 [本版的共同编辑] 牢记在心的三项建议”(4)：强调早期现代与我们现在之间的联系，包括处于不同阶段的学者和戏剧从业者职业生涯，突出喜剧的相关性，并扩大既定的经典。尽管编辑们在本书的引言中总结了 Stroud 的建议，但将全体会议全文复制为本书框架的一部分会很有用。从 AHCT 的特殊性出发，该系列广泛涉及社会正义理论，