Little Girl My Little Girl
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.
Lamp Lady
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.
In Review: Staging the Spanish Golden Age
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.
In Review: The Mountain Girl from La Vera
Reviewed by Kathleen Jeffs
Here is an engrossing and troubling play in a translation crying out for contemporary performance.
In Review: The Force of Habit
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.
El Muerto Lives Again: Two Translations from the Spanish Golden Age
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?
A Fiery Young Man: Or, an Incendiary Lover
By Enriqué Zumel
Translated by Christopher Kidder-Mostrom
Through that terrible crone’s interfering,
I move on from this place empty-handed.
From your hands we’d like to be hearing
Applause as the room you are clearing,
If pleased you “A Fiery Young Man” did.
When Five Years Pass (Legend of Time)
By Federico García Lorca
Translated by Luigi Salerni
I don’t think it will occur to the other woman or the lady Secretary to come around here again when five years pass, but if they should come…
Researching and Directing Guillén de Castro’s The Force of Habit
By Sara Freeman
This article tells the tale of several pieces of scholarship that had a deep impact upon our show, in the spirit of demonstrating the richness theatre history and historiography incorporate into a show process.
Quijóteres: The Ingenious Puppet Don Quijote de la Mancha
Written, translated and adapted by Jason Yancey
In true Cervantine fashion of overlapping and blurred frames, this warning to maintain a safe distance from the theatre appears to have spilled off the page and into real life.
