Introduction: The Poetics of the Imagined Stage
Esther Fernández and Adrienne L. Martín
Part One: Alternate Theatricalities in Cervantes’s Drama
1. Cervantes and the Simple Stage
Bruce R. Burningham
2. Queer Cambalaches in El rufián dichoso
John Slater
3. Of Players and Wagers: The Theatricality of Gambling for Salvation in El rufián dichoso
Sonia Velázquez
4. Writing to Rescue from Oblivion: The Phantasms of Captivity in El trato de Argel
Julia Domínguez
5. Captivating Music, Memory, and Emotions in Los baños de Argel
Sherry Velasco
6. In the Name of Love: Cervantes’s Play on Captivity in La gran sultana
Ana Laguna
7. Revolving Sets: Spatial Revelations in the Entremeses
Esther Fernández and Adrienne L. Martín
Part Two: Acts of Disclosure in Cervantes’s Prose
8. Coups de théâtre in the Novelas ejemplares
B.W. Ife
9. Captive Audiences: Performing Captivity in Cervantes’s Prose Narrative
Catherine Infante
10. Painting into Theatre: “The Suicide of Lucretia” as a Tableau Vivant in El curioso impertinente
Mercedes Alcalá-Galán
11. “Muchas y muy verdaderas señales”: The Theatrics of Truth and Sincerity of Fiction in La Galatea
Paul Michael Johnson
12. Eavesdropping or Spying? Secret Places and Spaces in Don Quixote
Eduardo Olid Guerrero
13. Don Quixote and the Performance of Aging Masculinities in Early Modern Spain
José R. Cartagena Calderón