By Pablo Remón Translated from Castilian Spanish by Sandra Kingery Volume 9, Issue 3 (Spring 2023) I recently had the immense pleasure of seeing my translation of Pablo Remón’s The Treatment performed by the Theatre Department at Lycoming College. Dr. Biliana Stoytcheva-Horissian directed the 8 students who played 25 characters: https://www.lycoming.edu/news/stories/2022/04/the-treatment.aspx. (The play can be…
Photo: Carolina Bustamante as NN; Gracia Morales as the Forensic Scientist By Gracia Morales Translated from Castilian Spanish by Phyllis Zatlin Volume 9, Issue 3 (Spring 2023) I met Gracia Morales in the fall of 2018 at the University of Southern Indiana during an international theatre conference organized by A. David Hitchcock. When I had…
The Cold Chain By Yaiza Berrocal Guevara Translated by Sian Creely In The Cold Chain we follow the story of Lola, a little girl whose first taste of potato smilies leads her to write love letters to Mr McCain, the faceless man responsible for her delight. Aided and berated variously by her former militant father…
By Gemma Brió Zamora
Translated by Sharon Feldman
I wait, to wait, I’m waiting, I wait, you wait, she waits, anticipation, a waiting room, wait, wait, wait… Waiting turns into despair. Wait, wait, wait, wait…
By Amaranta Osorio and Itziar Pascual
Translated by Phyllis Zatlin
Then I’ll read mine to you. I wrote it the day I met you. When you told me that you believed in fireflies.
By Marta Aran
Translated by Elena Igartuburu
MAURICI: Very interesting. Ok then, listen. I don’t have a title for it yet, but I’ll probably call it “Lamp Lady.”
GEMMA: Why?
MAURICI: Because that’s exactly what it’ll be. A woman posing as a lamp.
Reviewed by Jean Graham-Jones
Staging the Spanish Golden Age serves as a detailed, critical record of an important translation event for the English-speaking stage and as an insightful provocation for future theatrical-translational collaborations.
Reviewed by Kathleen Jeffs
Here is an engrossing and troubling play in a translation crying out for contemporary performance.
Reviewed by Gregary Racz
Kudos to all involved in introducing English-language audiences to Guillén de Castro’s overlooked play and in salvaging it, thus, from the limbo of unmerited oblivion.
By Francisco Bernardo de Quirós
Translated by Ben Gunter, Kerry Wilks, and Samuel (Chip) Worthington
I’ll be as still as a dead man. Marta, tell me, God’s truth, do you know what killed me?
The Mercurian 